PARLOR    TABLEAUX 


AMATEUR  THEATRICALS. 


BY   WILLIAM    K.    GILL. 


BOSTON: 

J.   E.   TILTON   AND    COMPANY. 
1868. 


Entered,  according  to  Act  of  Congress,  in  the  year  1866,  by 

".'£•%  TILTDN  rsu'cp;  : 

In  the  Clerk's  Office  of  the  District'  Court  "of*  trie  district  of  Massachusetts 


STEREOTYPED  BY  C.   J.  PETERS  &   SON, 
13  Washington  St.,  Boston. 


GEO.  C.  RAND  &  AVERY,  Cornhill  Press. 


TO 


HAMMATT    BILLINGS, 


AS  A   TRIBUTE  TO 


HIS    SURPASSING    GENIUS    AS    AN    ARTIST, 

AND   HIS   MANY 

ESTIMABLE  QUALITIES  AS  A  FRIEND, 

THIS  VOLUME 
IS  RESPECTFULLY  DEDICATED 

BY  THE  AUTHOR. 


INTRODUCTION, 


THE  growing  popularity  of  exhibitions  of  Tableaux 
Vivants,  the  success  which  almost  invariably  attends 
them,  and  the  great  desire  among  the  rising  genera- 
tion to  participate  in  this  simple  and  elegant  amuse- 
ment, have  induced  the  author  to  make  a  collection  of 
subjects  best  adapted  for  such  performance,  which 
would  include  the  most  novel  selections  from  all 
sources,  and  at  the  same  time  be  so  practical  in 
every  respect  as  to  admit  of  their  successful  repre- 
sentation by  the  most  inexperienced.  Tableaux  have, 
for  several  years,  been  a  favorite  entertainment 
vvith  persons  of  taste ;  and  the  principal  attraction 
of  many  charitable  exhibitions  for  the  benefit  of 
worthy  objects  have  consisted,  in  numerous  instances, 
of  these  beautiful  pictures,  which,  produced  with- 
out any  great  expense,  yet  gave  the  greatest  satis- 
faction to  appreciative  audiences,  and  were  consid- 


INTRODUCTION. 


ered  amply  equivalent  to  the  pecuniary  consideration 
offered  for'-,tne  oau^ei  In  view  of  the  fact  that  a  vast 
number  of  ,  aubjacts  suitable  for  tableau  representa- 
tidi'i  'kavfe'bee'n  'furmsh'ed  by  many  incidents  of  that 


time,  the  numerous  improvements  that  have  been 
made  in  the  mechanical  production  of  tableaux,  and 
that  no  publication  including  these  features  has  been 
presented  to  the  public  during  this  time,  it  is  hoped 
that  this  manual  may  be  found  to  comprise  all  that  a 
patient  research  through  all  kinds  of  material  could 
gather,  and  be  the  humble  means  of  a  thorough  grati- 
fication of  a  pure  and  commendable  taste.  A  pro- 
gramme for  an  evening's  entertainment  should  con- 
sist of  from  five  to  ten  designs,  including  varied 
selections  of  classical  and  domestic,  serious  and  comic, 
tableaux.  Music,  both  vocal  and  instrumental  if  pos- 
sible, should  be  given  between  the  different  repre- 
sentations, to  afford  time  for  the  necessary  prepara- 
tions, and  prevent  any  delay,  which  too  frequently 
occurs,  and  detracts  from  the  interest  of  the  perform- 
ance by  wearying  the  audience.  As  it  may  be  de- 
sired, by  many  who  are  interested  in  this  subject,  to 
possess  a  complete  apparatus  for  producing  tableaux, 
I  will  give  a  brief  description  of  machinery  and 
stoge-appurtenances  used  in  their  representation. 


INTRODUCTION. 


The  Stage. —  The  most  approved  form  of  tableau- 
stage,  and  of  the  most  recent  fashion,  consists  of  five 
pieces,  forming,  when  placed  together,  a  platform 
twelve  feet  long,  eight  feet  wide,  and  from  two  and 
a  half  to  four  feet  high,  according  to  the  length  of 
the  hall  or  room :  the  longer  the  room,  the  higher  the 
stage.  The  larger  and  central  portion  of  the  plat- 
form is  of  circular  form,  and  about  six  feet  in  diame- 
ter: the  top  of  this  piece  is  covered  with  smooth 
boards,  cut  out,  and  rounded  on  the  edges.  This 
part  of  the  section  rests  upon  an  iron  pivot,  which 
passes  through  the  centre.  A  frame  of  thick  planks 
diverging  from  the  centre,  six  in  number,  like  the 
spokes  of  a  wheel,  supports  the  top ;  and  small  iron 
wheels,  attached  to  the  planks  securely,  roll  upon  the 
floor  of  this  piece,  which  should  also  be  of  boards.  A 
rope  wound  around  the  plank  frame  several  times,  the 
end  passing  through  a  hole  in  the  stage  outside,  en- 
ables the  manager  of  the  tableau  to  revolve  this  cen- 
tral platform  with  any  degree  of  rapidity  he  may 
desire ;  and  beautiful  effects  may  be  produced  by 
placing  the  figures  upon  this  platform  in  a  circle,  so 
that  a  constantly-changing  view  is  presented  to  the 
audience,  while  the  machinery  producing  it  is  invisi- 
ble. The  other  four  portions  of  the  stage  form  the 


8  INTRODUCTION. 

corners ;  two  of  their  sides  meeting  in  an  angle,  while 
the  third  is  curved,  so  as  to  fit  on  to  the  central  por- 
tion. The  top  of  the  stage  and  sides  may  be  painted 
green,  which  will  render  the  use  of  a  carpet  unneces- 
sary ;  and  the  stage  will  always  be  ready  for  use. 
This  form  of  a  stage  is,  of  course,  more  expensive 
than  one  made  of  boards  and  joist :  but  it  is  at  the 
same  time  very  convenient  for  carrying  from  place 
to  place ;  while  it  is  greatly  superior  to  a  stationary 
stage,  in  the  numerous  changes  it  is  capable  of  pro- 
ducing in  moving-pictures.  A  few  instances  where 
it  would  be  particularly  advantageous  are  mentioned 
in  the  list  of  tableaux ;  but  it  may  be  applied  to  a 
much  greater  number  of  those  included  in  this  vol- 
ume. A  stage  for  a  parlor  may  be  made  of  boards 
joined  in  three  or  four  sections,  so  as  to  be  put  to- 
gether in  a  few  minutes,  forming  a  platform  of  the 
same  surface  as  the  one  just  described,  and  placed 
upon  four  boxes  two  or  three  feet  in  height ;  or  quite 
a  respectable  temporary  stage  may  be  made  by  un- 
hinging two  closet  or  any  interior  doors,  removing 
the  knobs,  if  they  have  them,  and  mounting  them  in 
the  same  way  upon  boxes :  of  course  the  doors  are  not 
injured,  being  covered  by  some  carpet,  and  are  strong 
enough  to  bear  six  or  eight  persons.  I  have  known 


INTRODUCTION.  9 

one  of  the  most  successful  exhibitions  I  ever  witnessed 
given  on  such  a  stage  as  the  one  just  described. 

The  front  of  the  stage  should  be  covered  by  a  strip 
of  green  cambric,  tacked  on  to  the  boards,  and  hang- 
ing to  the  floor  of  the  room. 

The  frame  for  the  scenery  used  in  tableaux,  either 
in  a  hall  or  parlor,  should  be  made  of  four  pieces  of 
small  joist,  mortised  at  the  corners  of  the  stage,  and 
reaching  just  above  the  top  of  the  curtain.  They 
should  be  joined  together  by  four  narrow  boards  two 
inches  thick.  A  frame  for  the  front  of  tableaux  is  fre- 
quently made.  It  consists  of  three  pieces  of  board, 
eight  inches  wide,  placed  across  the  top  and  sides  of 
the  opening,  and  covered  with  -buff  wall-paper,  with 
a  bordering  of  gilt  paper.  The  back  of  the  stage 
should  be  covered  with  black  or  purple  cambric  cur- 
tains, placed  close  to  the  wall  of  the  room.  There 
should  also  be  another  set  of  curtains,  of  the  same 
width,  for  "  vision"  scenes. 

For  the  sides  of  the  stage,  four  frames,  of  the  height 
of  the  curtain  and  two  feet  wide,  made  of  narrow 
strips  of  wood,  and  covered  with  black  or  purple  cam- 
bric, should  be  made :  these  are  called  wings,  and  are 
placed  so  as  to  hide  the  light  used  in  illuminating  the 
tableaux,  and  to  close  in  the  sides.  In  the  centre  of  the 


10  INTRODUCTION. 

top  of  the  frame  of  each  of  these  wings  a  groove  two 
inches  wide  is  made,  which  fits  into  the  side-pieces 
of  the  frame-work  at  the  top,  securely  holding  them 
in  place.  Wings  may  also  be  made  by  attaching  the 
cambric  to  narrow  pieces  of  wood  at  the  top  and  bot- 
tom, and  securing  them  to  the  frame  by  a  hook.  The 
top  of  the  stage  should  be  closed  in  by  flies,  which 
consist  of  strips  of  blue  or  dark  cambric,  attached  to 
narrow  strips  of  wood,  and  placed  across  the  top  of 
the  frame  in  front  of  the  wings.  The  curtain  may  be 
made  of  green  cambric,  having  a  roller  of  wood  at  the 
top  and  bottom :  if  small,  it  can  be  rolled  from  one 
side,  like  a  window-curtain ;  or  it  may  be  raised  like  a 
regular  stage-curtain,  which  is  provided  with  a  row 
of  rings  or  leather  loops,  placed  at  intervals  of  a  foot 
along  the  sticks  at  the  top  and  bottom,  and  smaller 
brass  rings  placed  at  the  same  distance,  on  the  back 
of  the  curtain  from  top  to  bottom.  Cords  are  run 
through  all  these  rings,  and  pass  outside  over  a  pulley, 
drawing  the  curtain  up  in  folds.  Another  form  is  to 
have  two  pieces  of  scenery,  painted  in  imitation  of 
clouds,  placed  in  front  of  the  opening,  and  running 
in  a  groove,  so  that  they  can  be  drawn  aside  like  fold- 
ing-doors. Of  course,  there  would  have  to  be  consid- 
erable space  on  either  side  to  manage  this ;  but  the 


INTRODUCTION.  1 1 

effect  is  quite  pleasing.  A  very  pretty  idea  for  a 
small  stage  is  to  have  the  frame  made  of  wide  gilt 
picture-moulding  ;  the  curtains  being  of  crimson  cam- 
bric, arranged  so  as  to  draw  apart.  Costumes  neces- 
sary for  tableaux  can  generally  be  got  up  by  persons 
of  ingenuity  with  but  little  trouble.  In  large  cities, 
where  costumes  can  be  hired  readily  at  a  small  ex- 
pense, many  will  doubless  avail  themselves  of  this  facil- 
ity ;  but  in  places  more  remote  the  ambitious  manager 
must  not  despair,  but  must  remember  that  these  liv- 
ing pictures  depend  for  their  success  upon  the  general 
effects  of  light  and  shade  more  than  upon  the  quality 
of  the  dresses.  For  instance,  in  statuary  tableaux, 
ju&tly  considered  the  most  beautiful  given,  the  figures 
are  invariably  dressed  in  cotton  sheets,  no  other  mate- 
rial approaching  this  simple  costume  in  its  likeness  to 
the  original ;  and  there  can  be  no  doubt  that  the  most 
elegant  dresses  of  velvet  and  gold  can,  aided  by  the 
strong  light  of  the  tableaux,  be  equalled  in  richness 
of  appearance  by  costumes  manufactured  of  simple 
cambric  and  gilt  paper.  In  this  collection  there  are, 
however,  a  great  number  which  will  require  no  dresses 
or  stage  properties  that  cannot  be  found  in  any  ordi- 
nary household :  and  if  it  is  not  desired  to  erect  a 
stage,  or  put  up  a  curtain,  why,  a  parlor  with  folding- 


12  INTRODUCTION. 

doors  will  answer  all  purposes ;  or  the  tableaux  can 
be  prepared  in  any  ordinary  room,  and  the  audience 
called  in  when  ready  for  exhibition.  Where  tableaux 
are  performed  in  a  hall,  there  will  generally  be  a  large 
space  on  either  side  of  the  stage  which  will  require 
to  be  closed  in  by  cambric  curtains,  sheets,  or  flags, 
attached  to  the  frame  of  the  stage,  and  extending  to 
the  wall. 

Foot-lights  are  almost  indispensable  to  a  stage  of 
any  size  ;  and,  where  gas  cannot  be  obtained,  they 
may  consist  of  candles  or  kerosene-lamps,  with  tin 
reflectors  in  front  of  them.  Within  the  last  two  years, 
there  has  been  an  important  scientific  discovery 
made,  which  has  induced  a  marked  improvement  in 
the  mode  of  illuminating  tableaux  :  this  is  the  mag- 
nesium light.  A  solidified  combination  of  this  mine- 
ral is  so  prepared,  as  to  be  readily  ignited  with  a 
common  match ;  and  burns  with  nearly  forty  times 
the  intensity  of  gas,  with  a  most  brilliant  white  flame. 
It  is  put  up  in  the  form  of  short,  narrow  strips,  and  in 
coils  of  wire  ;  the  strips  being  rather  better  for  stage- 
purposes,  as  they  do  not  burn  quite  as  rapidly  as  the 
wire.  A  substance  like  this,  that  is  ready  for  use  at 
all  times,  can  be  carried  in  a  small  compass,  and,  of 
such  superior  quality  of  illuminating  power,  is,  of 


INTRODUCTION.  13 

course,  a  great  acquisition.  It  is  in  fact,  when  in  use, 
the  only  really  necessary  light  for  tableaux ;  for  by 
means  of  a  small  tin  or  wooden  box,  with  one  side 
opened,  and  furnished  with  slides  of  glass  of  different 
colors,  any  shade  of  light  may  be  produced  by  igniting 
the  magnesium  in  the  box  after  placing  it  upon  a 
small  piece  of  tin,  and  putting  in  a  glass  of  the  de- 
sired color.  In  any  of  our  large  cities,  the  magnesium- 
lamp  may  be  obtained  for  any  length  of  time  desired 
by  the  payment  of  a  small  fee.  This  is  quite  elaborately 
arranged  for  burning  the  wire,  is  more  convenient 
than  using  a  box,  and  costs  no  more  than  the  strips 
of  wire  which  would  otherwise  be  consumed.  For  a 
single  evening's  entertainment,  where  it  is  desired  to 
have  little  trouble,  the  magnesium  may  be  burned  on 
a  piece  of  tin,  with  a  pasteboard  behind  to  throw 
the  light  upon  the  stage.  Our  readers  living  out 
of  town  can  order  the  magnesium  through  any  promi- 
nent chemist  or  druggist  in  our  large  cities.  Ordi- 
nary kerosene-lamps,  placed  in  large  boxes,  with  tin 
reflectors,  will  furnish  a  good  but  not  very  strong 
light ;  and  half  a  dozen  of  these  lamps  placed  on  the 
sides  of  the  stage,  with  pasteboard  placed  behind, 
will  do  for  a  small  stage. 
A  hall-stage  should  have,  if  possible,  in  addition  to 


14  INTRODUCTION. 

the  foot-lights,  a  row  of  similar  lights  over  the  top, 
behind  the  flies,  which  are  called  head-lights,  and,  for 
the  general  order  of  tableaux,  will,  with  the  foot- 
lights, give  sufficient  illumination.  Colored  lights, 
and  lights  for  vision-scenes,  are  explained  in  the  lat- 
ter pages  of  the  book.  In  describing  the  subjects 
given  in  this  collection,  it  has  been  almost  entirely 
without  reference  to  scenery,  for  the  reason  that  it  is 
presumed  the  majority  of  readers  will  prefer  their 
representation  as  simple  as  possible ;  while,  on  the 
other  hand,  when  it  is  desired  to  produce  them  with 
every  such  accessory  as  will  add  to  the  brilliant 
effect,  the  subject  will  suggest  what  scenery  is  most 
appropriate,  and  the  taste  of  the  manager  will  need 
no  other  direction.  The  properties  used  in  the  pieces 
(that  is,  the  chairs,  tables,  or  any  other  article  aside 
from  the  costumes)  will  be  found  mentioned  sepa- 
rately in  connection  with  the  subjects  to  which  they 
belong ;  and  no  list  of  necessary  articles  will  be  given 
here,  as  they  will  be  found  quite  as  readily  in  their 
appropriate  places.  No  matter  whether  the  parties 
are  experienced  or  inexperienced,  two  or  three  re- 
hearsals of  positions,  <fec.,  will  be  found  indispensable 
for  a  perfect  performance ;  and  any  omission  of  this 
important  element  will  greatly  detract  from,  if  not 


INTRODUCTION.  15 

totally  destroy,  every  good  effect  attempted  in  the 
representation.  The  last  rehearsal  should,  if  pos- 
sible, be  a  dress-rehearsal,  the  costumes  being  worn 
as  they  will  be  on  the  night  of  performance. 

Some  one  person  should  assume  the  direction  and 
responsibility  of  managing,  and  should  see  that  every 
thing  is  in  readiness,  and  also  have  an  understanding 
with  the  announcer  of  the  tableaux  outside,  so  that 
there  will  be  no  flurry  or  ridiculous  mistakes  made. 
His  directions  should  be  obeyed  by  the  company  im- 
plicitly;  remembering  that  any  loud  talk  or  disorder 
behind  the  curtain  is  magnified  to  the  audience,  and 
destroys  the  interest  by  turning  their  attention  from 
the  tableaux. 

Appropriate  poems  may  be  read  by  the  announcer 
of  the  tableaux,  or  by  others,  previous  to  their  exhi- 
bition, as  they  pleasantly  vary  the  entertainment,  and 
enable  the  audience  to  understand  the  subject  more 
appreciably.  A  simple  means  of  directing  the  work- 
ing of  the  tableaux  is  by  three  strokes  upon  a  bell : 
the  first,  meaning  that  the  gentleman  outside  is  to 
announce  the  piece,  or  read  the  poem ;  the  second  is 
the  signal  for  the  figures  to  take  their  positions ;  and 
the  third,  for  the  rising  of  the  curtain.  Each  per- 
former should  look  carefully  after  his  own  dresses, 


16  INTRODUCTION. 

laying  them  carefully  together  before  the  entertain- 
ment begins ;  and  the  manager  must  forbid  any  one's 
touching  another's  costume,  or,  before  the  evening  is 
over,  there  will  be  inextricable  confusion,  and  morti- 
fying delays  in  the  performance.  The  manager  will 
find  it  of  great  assistance  if  he  carefully  notes  down 
from  time  to  time  the  articles  he  finds  he  will  require, 
so  that,  when  the  time  of  exhibition  arrives,  nothing 
of  importance  will  be  forgotten ;  as,  without  this  pre- 
caution, it  might  be. 

It  will  also  be  well  to  place  in  the  dressing-rooms 
a  list  of  the  tableaux,  in  the  order  in  which  they  are 
to  be  represented,  which  will  prevent  unnecessary 
questions,  and  enable  every  one  to  understand  when 
they  are  to  be  called  upon  the  stage.  In  preparing 
this  collection,  it  has  been  the  design  of  the  author  to 
render  the  descriptions  so  simple  and  comprehensive 
as  to  be  readily  and  successfully  followed  by  all  de- 
siring to  do  so,  whether  they  may  have  any  particular 
taste  for  the  artistic  or  not.  To  originate  and  pro- 
duce fine  tableaux  undoubtedly  requires  considerable 
taste,  and  some  knowledge  of  art ;  but  there  can  be 
no  reason  why  a  person  with  a  manual  before  him, 
which  reduces  the  art  to  a  mere  mechanical  study, 
cannot,  profiting  by  the  experience  of  another,  be 


INTRODUCTION.  17 

equally  successful.  Being  well  aware  that  what  was 
desired  in  a  work  of  this  kind  was  not  words,  but  sim- 
ple directions,  the  author  has,  in  the  main  text  of  the 
book,  divested  the  descriptions  of  any  unnecessary  or 
flowery  verbosity  5  preferring  to  lay  his  claim  to  pub- 
lic favor  to  the  practical  utility  of  the  book,  rather 
than  to  those  more  entertaining  elements  which  popu- 
larize the  modern  novels  of  the  day.  He  has  been 
in  this  way  enabled  to  present  a  greater  number  and 
variety  of  subjects  than  the  limits  of  the  volume 
would  have  otherwise  allowed,  feeling  that  this  plan 
would  meet  more  general  approbation.  While  the 
tableaux  are  described  in  such  a  manner  that  a  pre- 
cise following  of  the  directions  would  produce  satis- 
factory results,  yet  it  is  not  presumed  that  any  other 
arrangement  of  them  would  be  objectionable,  or  that 
some  changes  might  not  be  made  with  advantage. 
Circumstances  may  be  such,  that  the  directions  cannot 
be  followed  as  described ;  some  figures  may  not  be 
obtainable,  or  properties  may  not  be  at  hand :  so  that, 
if  nothing  more  than  the  titles  are  accepted  in  such 
cases,  it  will  serve  one  purpose  of  the  manual.  To 
the  young  manager,  the  author  would  commend  perse- 
verance. There  will  be  innumerable  little  difficulties, 
not  thought  of  at  the  start,  which  must  be  overcome 
2 


18  INTRODUCTION. 

before  the  enterprise  succeeds ;  but  success  is  event- 
ually sure  to  all  who  do  not  fear  a  little  hard  work, 
and  who  possess  a  due  portion  of  the  natural  energy 
of  youth.  That  the  public  may  find  in  this  volume  a 
pleasant  companion  to  many  hours  of  unalloyed  plea- 
sure and  enjoyable  study,  and  that  it  may  prove  the 
humble  means  of  developing  a  love  of  the  beautiful 
and  of  healthful  amusement,  is  the  earnest  wish  of 
the  author. 

NOTE.  —  The  positions  are  given  in  the  text  on  the  supposition  that 
the  performer  is  on  the  stage,  facing  the  audience. 


PARLOR    TABLEAUX. 


PARLOR   TABLEAUX. 


THE    MAY    QUEEN. 

TWELVE   YOUNG    LADIES. 

You  must  wake  and  call  me  early,  call  me  early,  mother  dear : 

To-morrow '11  be  the  happiest  day  of  all  the  glad  New  Year ; 

Of  all  the  glad  New  Year,  mother,  the  maddest,  merriest  day : 

For  I'm  to  be  Queen  o'  the  May,  mother ;  I'm  to  be  Queen  o'  the  May. 

There's  many  a  black,  black  eye,  they  say,  but  none  so  bright  as  mine ; 

There's  Margaret  and  Mary,  there's  Kate  and  Caroline  : 

But  none  so  fair  as  little  Alice  in  all  the  land,  they  say ; 

So  Pm  to  be  Queen  o'  the  May,  mother ;  I'm  to  be  Queen  o'  the  May. 

Little  Effie  shall  go  with  me  to-morrow  to  the  green  ; 

And  you'll  be  there  too,  mother,  to  see  me  made  the  Queen : 

For  the  shepherd  lads  on  every  side'll  come  from  far  away ; 

And  I'm  to  be  Queen  o'  the  May,  mother ;  I'm  to  be  Queen  o'  the  May. 

The  honeysuckle  round  the  porch  has  woven  its  wavy  bowers, 
And  by  the  meadow  trenches  blow  the  faint  sweet  cuckoo-flowers, 
And  the  wild  marsh-marigold  shines  like  fire  in  swamp  and  hollow  gray : 
And  I'm  to  be  Queen  o'  the  May,  mother ;  I'm  to  be  Queen  o'  the  May. 

21 


22  PARLOR   TABLEAUX. 

All  the  valley,  mother,  '11  be  fresh  and  green  and  still ; 

And  the  cowslip  and  the  crowfoot  are  over  all  the  hill; 

And  the  rivulet  in  the  flowery  dale'll  merrily  glance  and  play : 

For  I'm  to  be  Queen  o'  the  May,  mother;  I'm  to  be  Queen  o'  the  May. 

So  you  must  wake  and  call  me  early,  call  me  early,  mother  dear  : 
To-morrow'll  be  the  happiest  time  of  all  the  glad  New  Year ; 
To-morrow'll  be  of  all  the  years  the  maddest,  merriest  day ; 
For  I'm  to  be  Queen  o'  the  May,  mother ;  for  I'm  to  be  Queen  o'  the  May. 

TENNYSON. 

THIS  simple  and  beautiful  tableau  is  the  sequel  to  the 
portion  of  the  poem  given  above,  —  one  of  the  few  which 
gave  his  brightest  reputation  to  the  Laureate  of  England. 
The  scene  represents  a  group  of  young  girls  gathered  in  a 
May-party  around  the  one  from  among  them  whom  they 
have  selected  as  their  queen.  This  young  lady  should  be 
about  sixteen  years  of  age,  of  clear  complexion,  and  straight 
features.  She  stands  in  the  centre  of  the  stage,  near  the 
front :  her  head  is  turned  a  little  towards  the  right,  so  as 
to  afford  the  audience  a  two-thirds  view  of  the  face.  She 
wears  a  white -muslin  dress,  with  low  neck  and  short 
sleeves,  blue-silk  sash,  a  small  bouquet  of  flowers  upon  her 
bosom,  a  wreath  of  small  white  flowers  and  rosebuds  upon 
her  head,  and  her  hair  in  long  curls  :  her  arms  are  crossed 
at  her  waist. 


THE    MAT   QUEEN.  23 

At  the  foot  of  the  May  Queen,  nearer  the  audience,  a  young 
lady  of  about  the  same  age  kneels,  holding  up  towards  her 
a  bouquet  of  flowers  in  her  right  hand  ;  while  her  left  rests 
upon  the  floor,  holding  another  spray :  her  face  is  towards 
the  left,  as  she  kneels,  looking  upward,  presenting  a  profile- 
view  to  the  audience.  She  wears  a  white  skirt,  black  belt, 
black  velvet  or  silk  bodice  trimmed  with  lace,  white-muslin 
jacket,  and  hair  plainly  dressed. 

Upon  the  right  side  of  the  May  Queen,  a  girl  of  about 
twelve  years  of  age  is  standing.  Her  right  arm  is  around 
the  waist  of  her  older  companion  ;  her  left  holds  up  a  small 
bouquet  towards  her :  her  head  leans  against  the  right 
shoulder  of  the  May  Queen,  and  she  looks  up  towards  her 
with  a  smiling  expression.  She  wears  a  pink-muslin  dress, 
or  white  trimmed  with  pink,  a  strand  of  wax  beads  around 
her  neck,  and  a  wreath  of  small  flowers  in  her  hair.  A 
young  girl,  of  about  the  same  age  as  the  one  just  described, 
stands  upon  the  left  of  the  May  Queen,  her  right  arm 
around  her  shoulders,  her  left  holding  a  small  basket  of 
flowers.  She  should  be  dressed  in  blue  muslin,  or  white 
trimmed  with  purple  ;  and  should  stand  with  her  head  lying 
upon  the  May  Queen's  shoulder. 

Upon  the  left  and  right  of  this  group  of  four  just  de- 


24  PARLOR   TABLEAUX. 

scribed,  on  the  outside,  six  other  young  girls,  from  ten  to 
fourteen  years  of  age,  take  their  positions,  kneeling  upon 
the  floor,  facing  each  other,  with  their  profiles  towards  the 
audience.  They  carry  garlands  of  artificial  flowers,  made 
by  fastening  paper-roses  and  other  flowers  upon  a  piece  of 
flexible  wood  or  rattan  with  small  wires.  They  should  all 
be  similarly  dressed  in  white  muslin,  trimmed  differently, 
with  flowers  in  the  hair.  A  long,  narrow  box  should  be 
placed  at  the  centre  of  the  background,  and  covered  with 
green.  Two  or  three  young  girls  stand  upon  this  box, 
which  should  be  about  two  or  three  feet  high,  supporting  a 
pole,  at  the  top  of  which  is  a  large  wreath  of  artificial  paper- 
flowers,  attached  by  means  of  different  colored  ribbons  to 
the  pole  near  the  top.  The  young  ladies  who  are  in  this 
position  should  wear,  in  addition  to  the  white  dress  and 
belt,  a  spray  of  artificial  flowers,  extending  from  the  left 
shoulder  to  the  right  hip.  The  music  should  be  lively,  and 
the  tableau  illuminated  by  a  bright^blue  light. 


NEW-YEAR'S  EVE.  25 


NEW-YEAR'S   EVE. 

TWO    LADIES. 

If  you're  waking,  call  me  early,  call  me  early,  mother  dear; 

For  I  would  see  the  sun  rise  upon  the  glad  New  Year  : 

It  is  the  last  New  Year  that  I  shall  ever  see ; 

Then  you  may  lay  me  low  i'  the  mould,  and  think  no  more  of  me. 

To-night  I  saw  the  sun  set.     He  set,  and  left  behind 
The  good  old  year,  the  dear  old  time,  and  all  my  peace  of  mind. 
And  the  New  Year's  coming  up,  mother ;  but  I  shall  never  see 
The  blossom  on  the  black-thorn,  the  leaf  upon  the  tree. 

Last  May,  we  made  a  crown  of  flowers  ;  we  had  a  merry  day : 
Beneath  the  hawthorn  on  the  green,  they  made  me  Queen  o'  May ; 
And  we  danced  about  the  May-pole,  under  the  hazel-copse, 
Till  Charles's  Wain  came  out  above  the  tall  white  chimney-tops. 

There's  not  a  flower  on  all  the  hills ;  the  frost  is  on  the  pane  : 
I  only  wish  to  live  till  the  snowdrops  come  again. 
I  wish  the  snow  would  melt,  and  the  sun  come  out  on  high ; 
I  long  to  s.ee  a  flower  so  the  day  before  I  die ! 

I  have  been  wild  and  wayward :  but  you'll  forgive  me  now ; 
You'll  kiss  me,  my  own  mother,  upon  my  cheek  and  brow. 
Nay,  nay !  you  must  not  weep,  nor  let  your  grief  be  wild : 
You  should  not  fret  for  me,  mother ;  you  have  another  child. 


26  PARLOR    TABLEAUX. 

Good-night,  sweet  mother !     Call  me  before  the  day  is  born. 
All  night  I  lie  awake ;  but  I  fall  asleep  at  morn. 
But  I  would  see  the  sun  rise  upon  the  glad  New  Year : 
So,  if  you're  waking,  call  me,  call  me  early,  mother  dear. 

TENNYSON. 

THIS  companion-piece  to  the  May  Queen  is  in  sad  con- 
trast to  the  bright,  joyous  character  of  that  beautiful  tab- 
leau. The  scene  represents  the  same  young  girl  who  per- 
sonated the  May  Queen,  lying  upon  a  lounge  in  the  centre 
of  the  stage,  a  victim  of  disease,  and  supposed  to  be  at  the 
point  of  death.  She  is  bolstered  up  in  a  sitting  position  on 
the  lounge.  Her  head  is  towards  the  right,  supported  upon 
her  right  arm,  which  rests  upon  the  pillow  ;  the  lower  limbs 
are  covered  with  a  white  counterpane ;  and  her  left  hand 
rests  upon  her  mother's  arm.  Her  face  is  very  pale  ;  Iwr 
hair  hangs  loosely  over  her  shoulders ;  and  she  looks  out 
straight  forward  with  an  earnest  expression.  She  wears  a 
loose  white  dress.  The  mother  sits  beside  her,  holding  her 
left  hand,  and  looking  upon  her  face  with  an  expresssion  of 
grief.  She  is  seated  on  the  left  of  her  daughter,  in  front 
of  the  lounge,  and  with  the  side  of  her  face  towards  the 
audience.  She  wears  a  black-silk  dress,  white  cap,  and 
handkerchief  upon  her  neck.  Music  very  low.  Light  dim. 


CHARITY   AND   POVERTY.  27 

CHARITY    AND    POVERTY. 

THREE   LADIES  AND   TWO   BOYS. 

THIS  tableau  owes  its  principal  effect  to  the  contrast 
between  the  two  great  classes  of  society  which  obtain  in 
the  world,  —  the  rich  and  the  poor  ;  and  this  fact  must  be 
borne  in  mind  in  arranging  the  characters.  The  persons 
represented  are  a  wealthy  young  lady ;  her  young  brother, 
or  page  ;  a  poor  woman  between  twenty-five  and  thirty  years 
of  age ;  her  son,  a  young  boy ;  and  an  old  lady,  also  very 
poor.  The  young  lady  first  mentioned  stands  at  the  left  of 
the  centre  of  the  stage,  with  a  good-sized  bundle  of  clothing 
in  her  right  hand,  held  close  to  her  waist,  and  her  left  hand 
extended  towards  the  woman.  She  should  wear  a  black 
dress,  velvet  cape,  and  hood  lined  with  blue  over  her  head. 
She  should  be  of  light  complexion.  Her  head  is  turned 
slightly  towards  the  right,  about  two-thirds  of  the  face 
being  visible  to  the  audience.  The  boy,  her  attendant, 
stands  at  her  right  side,  holding  a  large  basket,  which  he 
appears  to  be  carrying  with  difficulty :  he  looks  upwards 
towards  the  lady,  his  face  turned  away  from  the  audience. 


28  PARLOR   TABLEAUX. 

He  should  be  of  light  complexion,  with  hair  curled,  and 
dressed  in  wine-colored  blouse  or  tunic,  knee-breeches,  white 
stockings,  and  black-velvet  cap.  The  younger  of  the  ladies, 
representing  the  poor  woman,  kneels  in  the  centre  of  the 
stage,  holding  to  her  lips  with  her  right  hand  the  hand  of 
the  lady,  which  is  extended  towards  her.  She  is  dressed  in 
a  brown-cotton  waist  without  sleeves,  and  blue-serge  skirt. 
Her  hair  should  be  allowed  to  fall  dishevelled  over  her 
shoulders.  Her  face  is  made  up  very  pale,  with  dark  lines 
under  the  eyes  and  at  the  corners  of  the  mouth.  Her  little 
boy  should  be  but  partially  dressed  :  her  left  arm  is  held  in 
front  of  him,  as  if  to  prevent  him  from  touching  the  lady, 
while  he  looks  toward  the  audience  with  a  cross  expression. 
The  old  lady  is  at  the  back  of  the  centre  of  the  stage,  on  the 
right,  kneeling,  so  that  all  but  her  head  and  shoulders  and 
right  arm  are  concealed  from  the  audience  by  the  woman 
in  front  of  her.  She  should  be  dressed  in  a  long  black 
cloak,  cloth  hood,  and  with  a  cane  in  her  left  hand.  Her 
right  arm  leans  upon  the  woman's  left  shoulder,  and  she 
looks  upwards  towards  the  lady  with  a  grateful  expression. 
A  bright  light  should  be  thrown  upon  the  figures  on  the 
left,  the  others  being  left  in  the  shade.  Music  slow  and 
soft. 


THE    SHIPWRECKED    MOTHER.  29 


THE    SHIPWRECKED    MOTHER. 

ONE   LADY  AND  A   YOUNG    BOY. 

I've  listened  for  the  storm  to  cease, 
Through  all  the  night,  in  vain  : 

The  wind  seems  only  to  increase, 
And  faster  falls  the  rain. 

Ah,  me ! 
Just  hear  the  pouring  rain ! 

I  shudder  at  the  very  thought 

That  makes  my  darling  dead. 
Ye  winds,  what  anguish  have  ye  brought ! 

What  fears  for  my  poor  Fred  ! 
Fond  heart, 

What  fears  have  you  for  Fred  ! 


But  now,  amid  this  storm  to-night, 

Hope  sadly  dies  away  ; 
Despair  creeps  where  was  fond  delight ; 

And  I  can  only  pray. 
Great  God, 

Have  mercy  when  I  pray ! 

With  tears  I  bring  my  cause  to  thee : 
Great  things  canst  thou  perform. 


30  PARLOR   TABLEAUX. 

My  dearest  child  is  on  the  sea 
In  all  this  dreadful  storm. 

OGod! 
Protect  him  in  this  storm  ! 

THIS  scene  represents  a  mother  and  child  cast  upon  the 
shore  of  a  desert  island,  and  exposed  to  the  fury  of  a  vio- 
lent storm.  The  mother  kneels  in  the  centre  of  the  stage, 
near  the  front.  Her  face  is  toward  the  left ;  her  left  arm  is 
passed  around  the  shoulders  of  the  boy,  holding  him  close 
to  her ;  her  right  arm  is  raised  over  his  head,  as  if  endeav- 
oring to  ward  off  the  impending  bolt ;  and  her  face  is  turned 
upwards  with  a  terrified  but  imploring  expression.  She 
wears  a  loose  white  robe  with  neck  cut  low,  and  a  black 
mantle  thrown  back  from  her  shoulders  :  her  hair  is  thrown 
loosely  over  her  shoulders.  The  boy  stands  directly  in  front 
of  the  mother  :  his  face  is  towards  the  right,  his  arms  clasp- 
ing his  mother  around  the  neck ;  while  he  looks  upwards 
with  a  terrified  expression.  He  should  be  about  six  or  eight 
years  of  age,  and  should  wear  dark  trousers,  short  white 
shirt  open  at  the  neck,  and  white  stockings.  Red  light 
should  be  thrown  in  flashes  upon  the  figures,  or  streaks  of 
lightning  may  be  made  at  the  back :  there  should  be  the 
noise  of  a  storm  made  outside  continuously. 


WYOMING.  31 

WYOMING. 

SIX   GENTLEMEN. 

Scarce  had  he  uttered,  when  heaven's  rage  extreme 
Eeverberates  the  bomb's  descending  star ; 
And  sounds  that  mingled,  laugh  and  shout  and  scream, 
To  freeze  the  blood  in  one  discordant  jar, 
Rung  to  the  peeling  thunderbolts  of  war. 
Whoop  after  whoop  with  rack  the  ear  assailed, 
As  if  unearthly  friends  had  burst  their  bar; 
While  rapidly  the  marksman's  shot  prevailed ; 
And  aye,  as  if  for  death,  some  lonely  trumpet  wailed. 

Then  looked  they  to  the  hills  where  fire  o'erhung 
The  bandit  groups  in  one  Vesuvian  glare  ; 
Or  swept,  far  seen,  the  tower,  whose  clock,  unrung, 
Told  legible  that  midnight  of  despair. 
She  faints,  she  falters  not,  —  the  heroic  fair,  — 
As  he  the  sword  and  plume  in  haste  arrayed. 
One  short  embrace,  he  clasped  his  dearest  care. 
But  hark !  what  nearer  war-drum  shakes  the  glade  ? 
Joy,  joy !  Columbia's  friends  are  trampling  through  the  shade ! 

Calm  opposite  the  Christian  father  rose. 

Pale  on  his  venerable  form  its  rays 

Of  martyr-light  the  conflagration  throws : 


32  PARLOR   TABLEAUX. 

One  hand  upon  his  lovely  child  he  lays, 
And  one  the  uncovered  crowd  to  silence  sways ; 
While,  though  the  battle-flash  is  faster  driven, 
Unawed,  with  eye  unstartled  by  the  blaze. 
He  for  his  bleeding  country  prays  to  Heaven,  — 
Prays  that  the  men  of  blood  may  be  themselves  forgiven. 

CAMPBELL. 

THE  story  of  the  massacre  at  Wyoming,  and  Campbell's 
famous  poem  illustrating  the  subject,  are  too  well  known  to 
require  explanation  here.  The  scene  given  represents  the 
plains  of  the  village,  and  the  attack  by  the  Indians,  pre- 
vious to  the  arrival  of  the  United-States  troops. 

Upon  the  right  of  the  stage,  there  should  be  two  or  three 
boxes  placed  together  irregularly,  and  covered  to  imitate 
rocks  or  green  banks.  The  central  figure  of  the  group  is 
an  old  man,  who  is  in  the  centre  of  the  stage,  kneeling  upon 
his  right  knee  ;  his  right  hand  upon  his  breast,  his  left  hang- 
ing at  his  side  ;  his  head  towards  the  right,  inclining  down- 
ward ;  and  his  face  towards  the  front.  A  wound  should  be 
painted  upon  his  breast ;  and  his  eyes  should  be  closed,  as  he 
leans  heavily  against  a  young  man,  who  stands  behind  him, 
supporting  him  by  either  arm. 

He  wears  a  striped  shirt  open  in  front,  knee-breeches, 
brown  stockings,  and  low  shoes,  with  gray  wig.  His  face  is 


WYOMING.  33 

made  up  with  marks  of  age,  and  wears  an  expression  of 
pain.  Behind  the  old  man,  and  close  to  him,  a  young  man, 
from  twenty-one  to  twenty-five  years  of  age,  stands.  His  left 
arm  is  around  the  old  man,  passing  under  his  arms  ;  his  right 
is  raised  above  his  head,  grasping  a  sickle  or  reaping-hook  ; 
his  body  inclined  backwards,  as  if  preparing  to  strike  a 
blow ;  while  he  looks  upon  the  figure  of  the  Indian  before 
him  with  a  fierce  expression.  He  wears  a  drab  coat, 
light  corduroy  vest  and  knee-breeches,  blue  stockings  and 
buckle-shoes,  and  a  felt  hat  upon  his  head.  The  gentleman 
representing  the  Indian  chief  kneels  upon  the  right  of  the 
centre  of  the  stage,  with  his  face  and  body  partially  turned 
from  the  audience  ;  his  right  hand  grasping  a  gun,  raised  to 
the  height  of  his  waist ;  his  left  hand  holding  a  hatchet, 
which  lies  upon  the  bank  ;  while  he  looks  towards  the  centre 
at  the  young  man,  with  a  malicious  expression  upon  his 
face.  He  wears  a  salmon-colored  tunic  with  crimson 
skirt,  leggius  of  buckskin  trimmed  with  fur,  shoulder- 
belt  trimmed  with  fur,  and  head-dress  of  feathers  and 
beads.  His  face  should  be  stained  copper-color,  and  he 
should  be  of  straight  features.  Another  gentleman,  also 
representing  an  Indian,  stands  at  the  right  of  the  stage, 
near  the  back.  His  right  hand  grasps  a  gun  which  rests 
3 


34  PARLOR   TABLEAUX. 

upon  the  stage ;  his  left  a  hatchet,  which  is  raised  above 
his  head  ;  and  his  body  inclined  back,  as  if  about  to  hurl  the 
weapon  forward.  His  right  leg  is  extended  forward;  his 
left  braced  back ;  and  his  face  is  turned  toward  the  left, 
looking  at  the  young  man  who  stands  in  the  centre,  with  an 
expression  of  triumph  upon  his  face.  He  wears  a  brown 
tunic  and  scarlet  shirt ;  shoulder  and  waist  belt  of  scarlet, 
trimmed  with  beads,  and  buckskin  leggins,  and  shoes 
trimmed  with  fur,  and  a  head-dress  of  feathers  ;  his  face, 
also,  being  stained  a  copper-color.  Upon  the  left  of  the 
stage  a  young  man  stands,  with  his  back  partially  turned 
to  the  audience.  He  is  near  the  front ;  his  face  looking 
towards  the  right  at  the  Indian,  who  stands  at  the  back ; 
both  hands  grasping  a  gun,  the  right  at  the  trigger,  the 
butt  resting  against  his  left  shoulder,  and  the  barrel  pointed 
at  the  Indian.  His  right  foot  is  advanced  towards  the 
centre,  and  his  body  bent  forward.  He  wears  a  brown  coat, 
black  knee-breeches  and  stockings,  buckle-shoes,  striped 
shirt,  and  light  felt  hat.  Between  this  young  man  and  the 
centre,  another  young  man  is  seen  lying  with  his  head 
towards  the  left,  his  face  turned  upward  with  an  expression 
of  pain.  His  eyes  are  closed,  and  his  hair  thrown  back 
from  the  forehead,  showing  a  wound  upon  the  temple.  His 


BEATRICE    CENCI    LED   TO    PRISON.  35 

left  limb  is  bent  at  the  knee,  his  right  extended,  and  his 
hands  lie  naturally  at  his  sides.  He  wears  a  black  coat, 
white  vest,  and  shirt  thrown  open  in  front,  light  knee- 
breeches  and  buckle-shoes,  or  black  top-boots.  He  should 
be  of  dark  complexion,  and  his  face  is  made  up  very  pale. 
The  hatchets  used  may  be  those  with  steel  blades,  or  made 
of  painted  wood ;  and  the  Indian  chief  may  carry  a  long 
pointed  wooden  spear  in  place  of  a  musket.  The  light 
should  be  a  bright-red  fire  thrown  from  the  right.  The 
music  should  be  loud,  but  solemn,  with  sounds  of  guns  made 
outside. 


BEATRICE  CENCI   LED  TO   PRISON. 

NINE   LADIES. 

THE  subject  of  this  picture  is  the  leading  to  prison  of 
Beatrice  Cenci,  the  beautiful  parricide,  by  the  black  nuns, 
her  custodians. 

The  characters  are  represented  by  eight  ladies,  of  any 
complexion,  but  having,  if  possible,  straight  features ;  and 
by  one  young  lady  of  light  complexion,  straight  features, 
and  long  hair.  The  ladies  representing  the  nuns  stand  m 


36  PARLOR   TABLEAUX. 

couples  in  a  line  extending  diagonally  from  back  to  front 
of  the  stage,  presenting  a  two-thirds  view  of  their  faces  to 
the  audience.  The  couples  stand  at  distances  of  two  or 
feet  three  apart,  according  to  the  size  of  the  stage  ;  four 
of  the  ladies  standing  in  front,  and  four  behind,  the  lady 
personating  Beatrice,  who  has  her  position  in  the  centre  of 
the  stage. 

The  ladies  representing  the  nuns  wear  narrow  black 
skirts  of  alpaca  or  any  plain  material,  waists  of  the  same, 
broad  white  paper-collars  round  the  neck,  white  handker- 
chiefs covering  the  hair,  drapery-sleeves  to  dress,  and  long 
black  veils  thrown  over  the  head,  and  falling  over  the 
shoulders. 

They  should  also  have  a  string  of  imitation  white  beads, 
attached  to  a  wooden  cross,  fastened  to  the  waist,  and  a 
white  paper-cross  pinned  over  the  chest.  The  four  ladies 
on  the  outside  carry  a  candle,  lighted,  and  held  up  nearly 
to  the  height  of  the  shoulder,  in  the  hand  nearest  to  the 
audience.  The  ladies  on  the  inside  carry  candles,  held  in 
the  same  way  in  the  hand  nearest  the  back  of  the  stage  : 
the  other  hand  hangs  naturally  at  the  side,  or  holds  the 
cross  and  beads.  The  young  lady  representing  Beatrice 
stands  in  the  centre  of  the  stage,  two-thirds  of  her  face 


THE    INTERRUPTED    DUEL.  37 

towards  the  audience,  and  her  head  bent  forward,  looking 
down.  Her  hands  are  clasped  over  a  cross  similar  to  that 
worn  by  the  nuns,  and  her  hair  should  be  allowed  to  fall 
loosely  over  her  shoulders.  She  wears  a  plain  white  dress, 
long  skirt,  drapery-sleeves,  tied  round  the  waist  with  the 
cord  to  which  the  beads  are  attached.  Her  face,  and  that 
of  the  nuns,  should  be  quite  pale.  Music  very  slow  and 
solemn.  A  clear,  white  light  should  be  thrown  upon  the 
nuns  nearest  the  audience,  and  on  the  face  of  Beatrice. 


THE  INTERRUPTED  DUEL. 

FOUR  GENTLEMEN  AND  ONE  LADY. 

THIS  very  effective  tableau  is  from  one  of  the  great  nov- 
els of  the  day,  and  is  so  entirely  original  as  to  render  it 
acceptable  even  to  the  most  experienced  tableau-manager. 

The  stage  should  be  covered  with  pillows,  and  rolls  of 
clothing  placed  in  different  parts,  with  sheets  over  the  entire 
stage,  to  represent  a  field  of  snow.  Two  of  the  gentlemen, 
representing  the  duellists,  stand  on  opposite  sides  of,  and  in 
a  line  with,  the  centre  of  the  stage.  They  stand  facing  each 
other,  the  sides  of  their  faces  towards  the  front,  their  right 


38  PARLOR   TABLEAUX. 

hands  extended,  each  pointing  a  pistol  at  the  other  in  the 
act  of  firing,  and  looking  at  each  other  with  a  stern  expres- 
sion. They  wear  square-cut  English  suits,  with  knee- 
breeches,  or  modern  black  dress.  The  lady  stands  in  the 
centre  of  the  stage,  her  face  turned  a  little  towards  the  left, 
with  a  proud  expression ;  her  body  erect ;  the  left  hand 
holding  up  her  habit,  and  the  right  arm  raised  across  her 
breast.  She  wears  a  long  riding-habit,  and  black  hat  with 
long  feather.  At  the  back  of  the  stage  stand  the  other  two 
gentlemen,  representing  the  seconds.  One  of  them  stands 
with  his  arms  folded,  looking  out  upon  the  group  in  front : 
the  other  stands  with  his  left  arm  at  his  side,  and  his  right 
raised,  extending  a  white  handkerchief,  —  the  signal  of  the 
firing.  They  are  dressed  similarly  to  the  principals,  with 
the  addition  of  hats  in  keeping  with  the  character  of  their 
dress.  Music  alternately  loud  and  soft. 

A  red  light  should  be  thrown  upon  the  group  in  the  fore- 
ground, leaving  the  others  in  the  shade. 


CONSOLATION    IN    MUSIC.  39 

CONSOLATION   IN   MUSIC. 

ONE  GENTLEMAN  AND  ONE  LADY. 

'Tis  Music  hath  the  magic  power, 

From  opening  spring  to  winter's  close, 
To  soothe  in  sorrow's  darkest  hour 

The  heart  oppressed  by  deepest  woes. 
Sweet  Music !  Music  hath  a  magic  power ! 
Sweet  Music  !  Music  hath  a  magic  power ! 

'Tis  Music  brings  us  back  again 
Joys  we  prized  in  youth's  bright  days, 

When,  listening  to  the  witching  strain, 
Time  on  light  wings  flew  away. 

'Tis  Music,  'tis  Music, 

'Tis  Music  lends  a  golden  hue 
To  life's  tide  as  it  glides  along : 

Then  let  us  render  homage  due 
To  Music  and  her  sister,  Song ! 
Sweet  Music  !  Music  and  her  sister,  Song ! 
Sweet  Music !  Music  and  her  sister,  Song ! 

RICHARD  RYAN. 

THIS  very  fine  tableau  is  from  a  German  subject,  repre- 
senting a  lady  in  affliction,  who  has  come  for  comfort  and 
support  to  an  old  friend,  a  professor  of  music,  whose  magic 


40  PARLOR    TABLEAUX. 

tones  bring  solace  to  her  suffering.  At  the  right  of  the 
stage,  a  parlor-organ,  melodeon,  piano-forte,  or  some  simi- 
lar instrument,  should  be  placed,  with  one  end  towards  the 
audience.  The  professor  is  seated  at  the  instrument,  with 
his  face  towards  the  right,  his  arms  raised,  and  his  fingers 
touching  the  keys,  as  if  playing.  His  face  is  turned,  so  as 
to  show  about  two-thirds  to  the  audience.  He  wears  a  long 
black  robe  reaching  to  the  ground,  with  drapery-sleeves, 
black  skull-cap,  and  long  white  beard.  He  should  be  of 
straight  features,  with  a  thoughtful,  dignified  expression 
upon  his  face,  and  should  be  seated  in  a  large  arm-chair. 

The  lady  should  be  young,  and  of  handsome  features. 
She  is  seated  upon  a  low  chair  or  stool,  to  the  left  of  the 
professor,  with  her  hands  folded  upon  her  lap,  and  her  head 
inclined  backward,  leaning  against  the  professor's  chair ; 
while  her  face  is  turned  towards  the  left,  with  a  quiet  but 
sad  expression.  She  wears  a  long  white  muslin  robe  hang- 
ing close  to  the  form,  with  drapery-sleeves,  and  a  black 
belt.  Her  hair  should  be  allowed  to  fall  loosely  over  her 
shoulders.  There  may  also  be  upon  the  stage  a  small  table 
at  the  left,  and  a  portfolio  of  music  leaning  against  the  arm- 
chair on  the  right.  Music  of  a  mournful  character,  played 
very  softly. 


TAKING   THE    OATH.  41 


TAKING   THE   OATH. 

THREE   GENTLEMEN   AND    ONE    LADY. 

THIS  group  represents  a  scene  of  the  late  war ;  similar 
incidents  of  the  kind  occurring  in  all  of  the  principal  South- 
ern cities  upon  their  occupation  by  the  Union  forces. 

The  ladies  of  New  Orleans  were  particularly  bitter  in 
their  feelings,  and  very  overbearing  in  their  treatment  of 
the  Union  soldiers ;  but,  when  it  came  to  be  a  question 
of  submission  or  starvation,  many  were  glad  to  humbly 
yield,  and  take  the  oath  of  allegiance  with  becoming 
humility.  , 

The  scene  is  supposed  to  represent  the  headquarters  of 
the  provost-marshal  at  New  Orleans.  The  characters  are 
a  Union  officer,  a  young  contraband  in  attendance,  a  South- 
ern lady,  and  her  little  boy. 

A  barrel,  supposed  to  contain  rations,  occupies  the  centre 
of  the  stage  ;  the  officer  standing  behind,  with  his  left  hand 
raising  his  cap  from  his  head,  his  right  hand  extending  a 
Bible  towards  the  lady,  and  looking  at  her  with  a  searching 
expression. 


42  PARLOR   TABLEAUX. 

He  should  wear  either  a  lieutenant's  or  captain's  uni- 
form,—  dark-blue  coat,  open  in  front,  and  blue  pants.  He 
should  be  tall,  and  of  good  features,  with  mustache  and 
imperial. 

The  lady  stands  on  the  left  of  the  stage,  with  her  right 
hand  upon  the  Bible,  her  eyes  looking  down  towards  the 
ground,  and  her  head  inclined  forwards  ;  while  her  left  hand 
is  held  in  that  of  her  little  boy  beside  her.  She  wears  a 
gray  travelling-dress,  with  high  neck  and  long  sleeves ;  a 
mantle  of  the  same,  or  of  black  silk,  upon  her  shoulders  ; 
and  a  plain  white  collar,  and  knot  of  ribbon,  upon  her  neck. 
Her  hair  is  uncovered,  and  plainly  dressed.  The  little  boy 
should  be  about  eight  or  ten  years  of  age.  He  stands  beside 
and  very  close  to  his  mother,  on  her  left,  with  one  hand  hold- 
ing hers  ;  while  with  the  other  he  endeavors  to  cover  his  face 
with  her  dress,  as  he  peeps  shyly  out  at  the  officer.  He  is 
dressed  in  light  jacket  and  trousers  ;  collar,  and  knot  of  rib- 
bon, on  his  neck. 

The  young  contraband  stands  on  the  right  of  the  stage, 
with  his  elbows  resting  on  the  barrel,  and  his  chin  sup- 
ported on  his  hands :  he  looks  across  at  the  lady  with  a 
wondering  expression.  He  is  dressed  in  striped  shirt  and 
trousers,  waistcoat,  and  heavy  shoes.  Music,  "  Vive  1'Ame- 
rica ! " 


THE  BELIEVER'S  VISION.  43 


1  THE   BELIEVER'S   VISION. 

FOUR   LADIES. 

Angels  ever  bright  and  fair, 
Take,  oh  !  take  me  to  your  care  ; 
Spread  to  your  own  courts  my  flight, 
Clad  in  robes  of  virgin  white. 

AT  the  back  of  the  stage,  a  small  platform  or  long  box, 
two  or  three  feet  high,  should  be  placed ;  the  edge  nearest 
the  front  being  about  three  feet  from  the  background  of  the 
stage.  A  small  box,  about  two  feet  high,  should  be  placed 
upon  this  platform,  in  the  centre.  A  set  of  dark  curtains 
should  be  hung,  and  looped  up  at  the  sides,  hanging  just  in 
front  of  this  platform.  A  lounge  is  placed  at  the  left  of  the 
stage,  just  in  front  of  the  platform  ;  and  a  small  table,  upon 
which  is  a  book  opened,  a  tumbler,  and  glass  vials,  just  in 
front  of  the  head  of  the  lounge,  upon  the  left.  A  young 
lady,  the  principal  figure  in  the  tableau,  lies  upon  the 
louoge,  with  her  head  towards  the  left,  her  face  towards  the 
audience,  and  her  hands  crossed,  and  lying  upon  her  lap. 


44  PARLOR    TABLEAUX. 

Her  eyes  are  closed  as  in  sleep ;  and  her  face  wears  a 
peaceful,  smiling  expression.  She  wears  a  long  white  robe 
hanging  in  folds,  with  loose  drapery-sleeves.  Her  hair  is 
light,  and  hangs  loosely  over  her  shoulders. 

Upon  the  right  side  of  the  small  platform,  at  the  back  of 
the  stage,  a  young  lady  representing  an  angel  stands.  Her 
head  is  bent  forward  towards  the  left,  and  her  arms  ex- 
tended with  a  welcoming  gesture  towards  the  sleeping  lady, 
as  she  looks  down  upon  her  with  a  smiling  expression  upon 
her  face.  She  wears  a  robe  of  white  drapery,  with  wide 
flowing  sleeves  ;  wings  of  paper  or  muslin  on  wire  frames  ; 
and  her  hair  flowing  loosely  over  her  shoulders.  Another 
young  lady  stands  at  the  left  side  of  the  one  just  mentioned, 
with  her  right  hand  resting  upon  her  companion's  shoulder, 
her  left  extended  towards  the  sleeping  lady,  and  looking 
down  upon  her  with  a  smiling  expression.  She  is  dressed 
similarly  to  her  companion.  The  remaining  lady  stands 
upon  the  small  box  behind,  with  her  face  turned  upwards  ; 
her  right  hand  raised,  pointing  upwards  ;  her  left  at  her  side. 
She  wears  white  drapery  and  wings,  with  a  single  silver 
star  upon  her  forehead.  The  ladies  on  the  platform  should 
be  surrounded  with  blue  smoke.  Music,  some  sacred  hymn. 


THE  SOLDIER'S  MOTHER.  45 


THE   SOLDIER'S   MOTHER. 

THREE   LADIES,   A   BOY,   AND   A   YOUNG  GIRL. 

There  comes  new  light  to  her  dimming  eye, 

As  she  opens  the  fatal  scroll 
With  a  dying  hope,  whose  wondrous  charm 

Holds  her  back  from  her  nearing  goal. 
No  tear  for  her  darling,  who,  free  from  harm, 

For  his  country  his  life-blood  hath  shed  ; 
But  her  thin  lips  part  as  the  broken  heart 

Takes  in  the  record,  —  "  Dead  ! " 

Old  friends  and  true  bend  kindly  down, 

And  are  murmuring  soft  and  low ; 
But  her  dying  glance  is  upon  the  line 

That  is  sealing  a  mother's  woe. 
And  the  whisper  seems  like  the  voice  of  dreams 

When  night's  first  gloom  is  gone : 
"  Fighting,  he  fell  with  his  face  to  the  foe, 

Cheering  his  comrades  on  !  " 


The  paper  fell  from  a  lifeless  hand, 
As  she  goes  to  her  hero's  side ; 

But  a  smile  is  stamped  on  the  rigid  lip 
In  the  life  of  a  mother's  pride. 


46  PARLOR   TABLEAUX. 

For  there  steals  on  the  air,  like  a  battle-prayer, 

To  bless  her  soul's  new  dawn,  — 
"  Fighting,  tie  fell  with  his  face  to  the  foe, 

Cheering  his  comrades  on!" 

THE  poem  which  forms  the  subject  of  this  tableau  is 
said  to  have  been  written  in  commemoration  of  a  sad  inci- 
dent which  actually  occurred  during  the  late  war.  The  ter- 
rible trials  to  which  anxious  parents  must  have  been  sub- 
jected at  that  time  are  beyond  description  ;  and  the  scene 
given  here  is  doubtless  one  of  many  which  occurred  at  that 
period.  The  group  consists  of  a  mother,  her  daughters 
(one  a  young  lady,  the  other  a  child),  her  young  son,  and 
an  old  lady,  a  friend  of  the  family.  The  young  lady  kneels 
in  the  centre  of  the  stage,  her  face  towards  the  audience, 
and  her  arms  extended,  supporting  her  mother,  who  leans 
heavily  against  her  right  shoulder.  She  wears  a  blue  dress 
trimmed  with  white,  or  a  white-muslin,  with  low  neck  and 
short  sleeves ;  her  hair  becomingly  dressed.  Her  head  is 
bent  downwards,  as  she  looks  at  her  mother  with  an  expres- 
sion of  grief  upon  her  face. 

The  lady  representing  the  mother  should  appear  about 
forty  or  fifty  years  of  age.  She  lies  upon  the  floor  of  the 
stage,  near  the  front ;  her  right  hand  held  by  her  little  girl 


THE  SOLDIER'S  MOTHER.  47 

on  the  right ;  her  left,  by  her  son.  Her  eyes  are  closed  ;  and 
she  leans  back  upon  her  daughter's  shoulder  with  a  smile 
upon  her  face,  which  is  very  pale.  She  wears  a  plain  black 
dress,  with  white  collar  and  wristbands,  and  gray  hair.  The 
son  is  a  boy  of  about  fourteen  years  of  age.  He  kneels  at 
the  left  side  of  his  mother,  holding  her  hand  in  his  right, 
and  looking  towards  her  with  a  sad  expression. 

He  should  wear  a  blue  jacket  and  trousers,  and  white 
waistcoat,  or  any  similar  modern  dress.  The  little  girl 
should  be  from  six  to  ten  years  of  age.  She  kneels  at  the 
right  of  her  mother,  holding  her  right  hand,  and  looking  up 
at  her  face  with  an  inquiring  expression.  She  is  of  light 
complexion,  and  dressed  in  white  muslin,  with  blue  sash. 

The  old  lady  friend  stands  at  the  right  of  the  stage,  with 
her  hands  clasped,  and  looking  down  towards  the  mother 
with  an  earnest  expression.  She  wears  a  drab-colored 
dress,  white  neckerchief,  and  white  cap.  The  light  upon 
the  tableau  is  thrown  from  the  left.  Music  of  a  very  solemn 
character. 


48  PARLOR  TABLEAUX. 

THE  SEA  OF  ICE. 

ONE   FEMALE   FIGURE. 

THIS  is  a  very  impressive  tableau,  and  may  be  produced 
without  any  expensive  accessories  whatever.  The  scene  is 
from  the  well-known  play  of  "  The  Sea  of  Ice,"  and  repre- 
sents the  incident  from  which  the  drama  takes  its  name. 

A  vessel,  on  board  of  which  is  a  wealthy  Spanish  gentle- 
man, is,  at  the  instigation  of  one  of  the  mutinous  officers, 
seized  by  the  crew.  The  ship  afterwards  drifts  from  its 
course,  and  goes  to  pieces  on  the  icebergs ;  all  the  crew  and 
passengers  being  lost,  except  a  young  girl,  the  child  of  the 
Spanish  gentleman.  The  stage  should  be  covered  with 
large  boxes  irregularly  arranged,  and  covered  with  white- 
cotton  sheets  to  represent  blocks  of  ice. 

In  the  centre  of  the  stage,  a  box  higher  than  the  others 
is  placed,  upon  which  the  young  girl,  who  should  be  about 
eight  years  of  age,  kneels,  with  her  hands  clasped,  her  face 
turned  upward  with  an  appealing  expression.  She  is  of 
light  complexion,  with  hair  in  curls,  and  dressed  in  white 
muslin  trimmed  with  blue,  which,  though  inappropriate  to 


THE    FIRST    APPEAL.  49 

the  time   and   place,   is   represented   to   have   been   worn 
there. 

A  strip  of  paper  or  canvas  may  be  passed  across  the 
stage,  near  the  front,  to  represent  water  ;  though  this  is  not 
indispensable.  A  blue  light  should  be  thrown  so  as  to  fall 
upon  the  face  of  the  young  girl.  Music  should  represent 
the  roaring  of  water. 


THE   FIRST  APPEAL. 

ONE    LADY    AND    ONE    GENTLEMAN. 

THE  figures  personating  the  characters  in  this  tableau 
should  be  dressed  in  the  style  of  the  last  century. 

Two  bouquets  or  flower-pots,  containing  shrubs,  may  be 
placed  on  both  sides  of  the  stage,  as  the  place  represented 
is  a  garden,  and  a  chair  some  distance  back  to  the  right  of 
the  centre. 

The  lady  should  be  seated  in  this  chair,  looking  towards 
the  left,  with  a  little  more  than  one-half  of  her  face  towards 
the  audience.  She  is  listening  to  the  young  man  with  at- 
tention, and  looking  down  towards  her  work,  which  she 
4 


50  PARLOR  TABLEAUX. 

holds  in  her  left  hand,  her  needle  in  her  right,  with  which 
she  is  just  taking  a  stitch. 

She  should  be  dressed  in  a  blue  skirt,  over  which  is  a 
quilted  skirt  of  some  scarlet-colored  material,  looped  up ; 
and  she  also  wears  a  long  white-flowered  jacket,  with  full 
short  sleeves,  and  low  neck.  The  young  man  is  dressed 
in  blue  knee-breeches,  striped  stockings,  and  pumps  with 
buckles,  a  blue  cut-away  coat,  and  white-satin  vest.  With 
his  right  hand  he  is  nervously  fingering  a  waistcoat-button, 
while  in  his  left  he  holds  a  flower.  His  right  leg  is  crossed 
over  his  left  as  he  stands  against  the  left  wing  of  the  stage, 
looking  down  earnestly  at  the  lady.  To  complete  her  cos- 
tume, the  lady  should  wear  a  small  cap,  and  a  rose  in 
her  hair,  which  should  be  combed  back  in  puffs.  Music 
lively. 


THE   IMAGE  OF   MAMMA. 

A   LADY   AND   A    YOUNG   GIRL. 

THIS  tableau  brings  into  requisition  a  large  mirror,  which 
should  be  placed  to  the  left  of  the  centre  of  the  stage,  sup- 
ported so  as  to  be  visible  to  the  audience. 


THE   MOUNTAINEER.  51 

The  characters  are  a  little  girl  and  her  mother.  The 
mother  should  be  kneeling  on  her  left  knee,  with  the  child 
supported  against  her  right.  Her  right  arm  should  be 
around  the  child,  holding  her  right  hand  up  in  front  of  the 
glass  ;  while  her  left  hand  is  extended,  pointing  to  the  glass. 
Her  head  is  inclined  towards  that  of  the  child,  and  her  face 
wears  a  smiling  expression.  She  should  be  dressed  in  a 
rich  silk  dress,  with  low  neck  and  sleeves.  The  child 
stands  looking  into  the  glass,  with  a  smile  on  her  face. 
She  is  simply  dressed  in  a  white  muslin.  Music  lively. 


THE  MOUNTAINEER. 

ONE    YOUNG     BOY    AND     ONE     LADY. 

THIS  is  a  very  simple  picture,  and  may  be  readily  pro- 
duced wherever  a  young  child  of  four  or  five  years  of  age 
may  be  made  available.  On  the  right  of  the  picture,  there 
should  be  a  piece  of  scenery,  or  two  or  three  boxes  covered 
with  baize,  in  imitation  of  a  sloping  bank.  The  female  fig- 
ure stands  in  the  centre  of  the  stage,  looking  towards  the 
right,  the  side  of  her  face  to  the  audience.  She  holds  in 
her  right  hand  a  straight  branch  of  a  tree,  resting  that  and 


52  PARLOR   TABLEAUX. 

her  right  foot  on  the  bank.  Her  left  hand  encircles  the 
child  behind,  who  clings  to  her  shoulders  ;  so  that  his  chin 
is  at  the  height  of  her  left  shoulder,  his  head  visible  to  the 
audience.  She  wears  a  short  dress  of  drab  serge,  with  low 
neck  and  short  sleeves,  with  a  blue  jacket  extending  below 
the  waist.  Her  hair  is  plainly  dressed,  and  on  her  head 
she  wears  a  handkerchief.  The  child  is  dressed  in  a  tunic, 
reaching  to  the  knees  (his  legs  being  bare),  with  a  small 
cloth-cap,  without  visor,  on  his  head.  He  looks  directly  for- 
ward towards  the  audience,  with  a  smile  on  his  face.  The 
stage  should  not  be  very  light ;  and,  outside,  the  sound  of 
thunder  and  of  falling  rain  will  add  to  the  effect.  Music 
loud. 


THE  WELCOME  SHELTER. 

ONE  GENTLEMAN  AND  ONE  LADY.   . 

THIS  tableau  represents  a  couple  caught  in  a  shower  sit- 
ting on  a  wooden  bench.  The  lady  is  dressed  in  a  silk 
skirt  raised  from  the  ground,  with  a  velvet  mantilla  and 
lace  bonnet.  She  holds  in  her  right  hand  her  parasol, 
slightly  raised  ;  while  in  her  left  hand  she  holds  her  skirt. 
Her  face  is  turned  toward  the  left,  with  an  amused  expres- 


DANTE    AND    BEATRICE.  53 

sion.  The  gentleman  holds  in  his  right  hand  his  umbrella, 
opened,  leaning  forward  towards  her  as  if  offering  its  use. 
His  face  and  upper  half  of  his  body  should  be  concealed  by 
the  umbrella ;  and  he  should  be  seated  so  close  to  the  lady 
as  to  touch  her  right  arm  as  he  offers  the  shelter.  Sounds 
of  falling  rain  may  be  made  outside,  and  the  music  should 
be  very  lively. 


DANTE  AND   BEATRICE. 

ONE  GENTLEMAN  AND  ONE  LADY. 

"  Speak !  speak  unto  thy  lady,  that  she  quench 

Thy  thirst  with  drops  of  sweetness."     Yet  black  awe 

Which  loads  it  o'er  me,  even  at  the  sound 

Of  Beatrice's  name,  did  bow  me  down, 

As  one  in  slumber  held.     Not  long  that  mood 

Beatrice  suffered  :  she,  with  such  a  smile 

As  might  have  made  one  blest  amid  the  flames, 

Beaming  upon  me,  thus  her  words  began  : 

"  Thou  in  thy  thoughts  art  pondering,  as  I  deem, 

CAnd  what  I  deem  is  truth,)  how  just  revenge 

Could  be  with  justice  punished  :  from  which  doubt 

I  soon  will  free  thee,  so  thou  mark  my  words ; 

For  they  of  weighty  matter  shall  possess  thee." 

PAKADISE,  canto  vii. 


54  PARLOR    TABLEAUX. 

THIS  tableau  is  from  the  celebrated  picture  of  this  sub- 
ject, which  is  doubtless  familiar  to  many  as  a  very  beautiful 
work  of  art. 

The  character  of  Dante  should  be  personated  by  a  gen- 
tleman with  long,  straight  features,  without  beard  or  whis- 
kers. His  face  should  be  made  up  so  as  to  appear  forty-five 
or  fifty  years  of  age,  with  heavy  black  lines  under  the  eyes, 
and  other  marks  of  age.  His  dress  is  a  long  black  domino, 
with  drapery-sleeves,  a  tight-fitting  sleeve  underneath,  and 
a  black  hood,  closely  fitting  round  the  head  and  face,  coming 
down  on  the  forehead  so  as  to  hide  the  hair  entirely.  He 
should  stand  at  the  right,  looking  up  at  Beatrice,  with  his 
left  hand  on  his  breast,  his  right  hand  and  forefinger  raised, 
as  if  asking  some  question ;  while  he  looks  at  her  with  an 
earnest  expression. 

Beatrice  should  stand  somewhat  nearer  the  front  of  the 
stage  than  Dante,  on  a  long  box,  hidden  from  the  front  by 
pasteboard  painted  in  imitation  of  the  clouds.  She  should 
be  dressed  in  a  plain,  long  robe  of  white  drapery,  trailing 
behind,  with  long,  wide  sleeves,  and  cut  so  as  to  show 
about  half  the  neck.  Her  hair  is  combed  back  quite  low, 
covering  the  ears  ;  and  she  wears  on  her  head  a  wreath  of 
laurel  or  ivy,  and  a  long  veil  falling  behind.  Her  left  arm 


THE    CROWN    OF    GLORY.  55 

and  hand  hang  naturally  at  her  side,  while  her  right  is 
raised  to  her  bosom.  Her  face  is  turned  a  little  towards 
the  right,  and  she  looks  upwards  with  a  hopeful  expression. 
The  young  lady  personating  Beatrice  should  be  tall,  with 
straight  features,  and  of  light  complexion.  A  bright  light 
should  be  thrown  upon  Beatrice,  and  blue  smoke  should  be 
made  around  her  for  clouds.  Music  very  soft. 


THE   CROWN   OF  GLORY. 

FIVE    LADIES. 

Vital  spark  of  heavenly  flame, 
Quit,  oh !  quit,  this  mortal  frame ! 
Trembling,  hoping,  lingering,  flying, — 
Oh  the  pain,  the  bliss,  of  dying  ! 
Cease,  fond  Nature,  cease  thy  strife, 
And  let  me  languish  into  life. 

Hark !  they  whisper ;  angels  say, 
"  Sister-spirit,  come  away  ! " 
What  is  this  absorbs  me  quite,  — 
Steals  my  senses,  shuts  my  sight, 
Drowns  my  spirits,  draws  my  breath  ? 
Tell  me,  my  soul !  can  this  be  death  ? 

The  world  recedes,  —  it  disappears  ! 
Heaven  opens  on  my  eyes ;  my  ears 
With  sounds  seraphic  ring. 


56  PARLOR   TABLEAUX. 

Lend,  lend  your  wings  !  I  mount !  I  fly  ! 
O  Grave !  where  is  thy  victory  ? 
O  Death !  where  is  thy  sting  ? 

ALEXANDER  POPE. 

THE  original  picture  from  which  this  tableau  is  taken  is 
a  very  celebrated  painting  belonging  to  one  of  the  London 
galleries.  On  the  left  of  the  stage,  about  three  feet  from 
the  back,  a  lounge,  or  couch,  is  placed,  covered  with  some 
rich  crimson  material. 

The  principal  lady  of  the  group  is  discovered  extended 
upon  the  lounge,  her  head  towards  the  left  of  the  stage, 
her  face  turned  upwards,  with  eyes  closed,  as  in  sleep,  and 
with  a  smile  upon  her  face.  She  is  dressed  in  a  Spanish 
costume,  —  elegant  white-satin  dress,  crimson  jacket,  and 
long  white-lace  veil  passing  around  her  head  and  face,  and 
hanging  over  her  shoulders.  Her  right  hand  lies  upon  her 
breast ;  her  left  is  extended  on  the  couch  beside  her.  Upon 
the  right  of  the  stage,  the  attendant  of  the  lady  is  seated 
rather  nearer  the  front.  A  book,  opened,  rests  upon  her 
lap,  which  she  holds  in  her  hands ;  her  head  slightly  in- 
clined downwards,  as  if  reading ;  her  face  being  towards 
the  left. 

She  should  be  of  dark  complexion,  and  costumed  in  a 


THE    CROWN    OF    GLORY.  57 

black-silk  dress,  black  coronet,  and  long  black-lace  veil 
hanging  from  her  head  over  her  shoulders.  At  the  back  of 
the  stage,  in  the  rear  of  the  lounge,  a  long  box  should  be 
placed  as  an  additional  stage  for  the  remaining  figures,  and 
covered  with  green  or  some  dark-colored  material.  This 
stage  is  partially  separated  from  the  front  by  curtains  drawn 
aside  sufficiently  to  exhibit  a  good  view  of  the  figures  from 
the  front.  Two  of  the  ladies  stand  near  the  front  of  this 
small  stage,  holding  forward,  above  the  lady  upon  the  couch, 
a  wreath  of  laurel,  or  a  crown  made  of  silver-paper :  each 
has  an  arm  around  the  other's  waist,  while  the  other  hand 
is  extended  with  the  crown.  They  should  stand  with  their 
faces  toward  the  left,  bending  over  and  looking  down  upon 
the  lady  below.  They  are  dressed  in  simple  robes  of  white, 
with  drapery-sleeves  reaching  to  the  elbow,  and  the  hair 
falling  behind  in  curls.  They  may  also  have  artificial  wings 
of  white  rnuslin  or  paper  over  a  wire  frame.  The  remain- 
ing lady  stands  behind  the  two  just  described,  elevated 
about  a  foot  higher  from  the  level  of  the  stage.  Her  left 
hand  is  at  her  side  ;  her  right  raised  above  her  head,  and 
pointing  upwards ;  her  face  is  also  turned  upwards.  She 
wears  a  full  robe  of  white  drapery,  hanging  in  folds,  and  a 
circlet,  or  crown,  upon  her  head.  A  bright-blue  light  should 


58  PARLOR   TABLEAUX. 

be  thrown  upon  the  sleeping  lady  and  the  angels,  and  the 
latter  surrounded  with  blue  smoke.  Music,  some  sacred 
hymn. 

SCREEN-SCENE   FROM   THE   SCHOOL   FOR 
SCANDAL. 

THREE   GENTLEMEN   AND   ONE   LADY. 

Sir  Peter.  Harkee,  have  you  a  mind  to  have  a  good  laugh  at 
Joseph  ? 

Charles  Surface.     I  should  like  it  of  all  things. 

Sir  P.  Then  i'  faith  we  will.  I'll  be  quits  with  him  for  discovering 
me.  He  had  a  lady  with  him  when  I  called.  (  Whispers.) 

Charles  S.     What,  Joseph  ?     You  jest. 

Sir  P.  Hush  !  A  little  French  milliner ;  and,  the  best  of  the  jest  is, 
she's  in  the  room  now. 

Charles  S.     The  devil  she  is ! 

Sir  P.     Hush!  I  tell  you.    (Points  at  screen.) 

Charle-s  S.    Behind  the  screen  !     S'life !  let  us  unveil  ? 

Sir  P.    No,  no !  he's  coming :  you  sha'n't  indeed ! 

Charles  S.  Oh,  egad  !  we'll  have  a  peep  at  the  little  French  milliner. 
(Endeavoring  to  get  towards  the  screen,  Sir  PETER  preventing.) 

Sir  P.     Not  for  the  world !    Joseph  will  never  forgive  me. 

Charles  S.     I'll  stand  by  you. 

Sir  P.  Odds !  here  he  is.  (JOSEPH  SURFACE  enters  as  CHARLES 
throws  down  the  screen.) 

Charles  S.     Lady  Teazle,  by  all  that's  wonderful ! 

Sir  P.    Lady  Teazle,  by  all  that's  damnable ! 


SCREEN-SCENE    FROM   THE    SCHOOL    FOR    SCANDAL.         59 

THE  selection  from  the  well-known  comedy  of  "The 
School  for  Scandal,"  given  above,  explains  very  well  the 
scene  of  the  tableau. 

The  characters  are  discovered  in  the  positions  which  they 
assume,  when  the  screen  is  thrown  down.  Sir  Peter  Teazle 
is  at  the  right  of  the  stage,  near  the  front ;  his  hands  are  at 
his  sides  ;  his  head  bent  down,  as  he  looks  toward  Joseph 
with  a  sad,  reproachful  expression. 

He  is  dressed  in  a  dark  or  salmon-colored  coat  and 
breeches,  white -satin  vest,  silk  stockings,  shoes  with 
buckles,  lace  ruffles,  and  white  wig.  Lady  Teazle  stands 
at  the  right  of  the  centre  of  the  stage,  some  distance  back. 
Her  right  hand  is  raised  to  her  lips,  and  she  looks  down 
with  a  mortified  expression.  A  large  dressing-screen  is 
thrown-  down  at  her  feet. 

She  is  dressed  in  an  elegant  gauze  dress,  embroidered 
with  flowers  ;  white-satin  petticoat  and  bodice  ;  and  plume 
of  feathers  in  her  hair,  which  is  rolled  back  from  the 
forehead. 

Charles  Surface  is  on  the  left  of  Lady  Teazle,  nearer  the 
centre  of  the  stage.  His  right  hand  is  extended  towards 
the  lady ;  and  he  looks  at  Sir  Peter  with  an  amused,  sur- 
prised expression.  He  should  be  rather  jauntily  dressed  in 


60  PARLOR   TABLEAUX. 

a  green  coat,  white  waistcoat,  light  breeches,  dress-shoes, 
and  white-silk  stockings. 

Joseph  Surface  is  opposite  to  Sir  Peter  Teazle,  on  the 
left  of  the  stage,  near  the  front.  His  head  is  towards  the 
right,  his  hands  clasped  in  front  of  him  ;  and  he  looks 
toward  Sir  Peter  with  an  expression  of  shame  upon  his 
face.  His  dress  is  a  dark  coat,  black-velvet  waistcoat, 
black-satin  breeches,  stockings  and  pumps. 

The  room  should  be  handsomely  furnished  with  modern 
furniture,  —  a  small  table  and  chair  on  the  left ;  and  a  small 
sofa,  or  tete-a-tete,  at  the  back.  The  character  of  Charles 
Surface  should  be  represented  by  a  young  man,  whose  gen- 
eral make-up  is  careless  and  bold-looking.  Joseph  Surface 
should  be  older,  and  made  up  in  rather  more  sombre  style. 
As  it  would  be  difficult  to  find  any  music  particularly  ap- 
propriate to  such  a  scene,  the  usual  accompaniment  may  be 
omitted  in  this  tableau. 


THE    DUEL    IN   THE    SNOW.  61 


THE  DUEL  IN  THE  SNOW. 

FOUR  GENTLEMEN  AND  ONE  LADY. 

"  I  sometimes  call  myself  Justice." 

ANGEL  OF  THE  MIDNIGHT,  act  iv. 

THIS  scene  is  from  the  popular  melo-drama,  "  The  Angel- 
of  the  Midnight,"  which  'is  probably  familiar  to  many  city 
readers,  and  forms  a  strikingly  original  and  effective  tab- 
leau. On  the  rising  of  the  curtain,  a  large  handful  of  small 
pieces  of  white  paper,  to  represent  snow-flakes,  should  be 
thrown  into  the  air  above  the  stage,  and  renewed,  if  neces- 
sary, during  the  continuance  of  the  tableau.  The  stage 
should  be  covered  with  white  cotton  sheets  or  cloth  ;  with 
small  evergreens  in  the  background,  if  convenient.  An 
irregular  piece  of  wood  covered  with  white  occupies  the 
centre  of  the  stage.  The  lady  should  stand  in  the  centre  of 
the  stage,  with  a  staff  in  her  left  hand,  held  close  to  her 
body,  and  her  right  hand  raised  above  her  head,  pointing 
upwards  ;  her  face  turned  upwards  with  an  earnest  expres- 
sion. She  is  dressed  in  a  loose  slate-colored  dress,  with 


62  PARLOR   TABLEAUX. 

drapery-sleeves,  and  a  hood  of  the  same  thrown  back  upon 
her  shoulders.  She  should  be  tall,  of  dark  complexion,  and 
straight  features. 

The  gentleman  known  as  Capt.  Satan  in  the  play  stands 
at  the  right  of  the  stage,  near  the  front.  The  characters  in 
the  piece  are  supposed  to  have  just  come  from  a  masque- 
rade, where  the  challenge  was  given  ;  and  he  still  wears  his 
"  Mephistopheles  "  dress,  which  consists  of  red  shirt,  trunks 
slashed  with  black,  black  cape  fastened  to  the  shoulders,  red 
stockings,  black  shoes,  long  black  wig,  black  mustache  and 
imperial,  with  eyebrows  made  up  to  correspond.  He  has 
just  received  a  fatal  wound ;  and  his  right  hand,  holding 
his  sword,  is  lowered  to  the  hip,  and  his  left  hand  placed 
over  his  breast.  His  head  is  inclined  backwards  upon  the 
shoulder  of  the  gentleman  who  supports  him :  his  face  'still 
wears  an  expression  of  malice  and  disappointment.  His 
adversary  stands  at  the  left  of  the  stage,  near  the  front  : 
his  left  hand  is  extended  behind  him,  in  the  position  of 
"  guard ;  "  his  right  extended,  holding  his  sword  a  little 
lowered  from  the  level  of  his  antagonist's  breast.  His  face 
wears  a  determined  expression  as  he  looks  towards  his 
opponent. 

His  costume  is  a  black-velvet  cut-away  coat,  with  jet 


THE   DUEL   IN   THE    SNOW.  68 

I 

buttons,  waistcoat  of  the  same,  velvet  breeches,  black- 
silk  stockings,  and  buckle  shoes.  The  second  of  Capt. 
Satan  stands  directly  behind  him,  his  right  arm  under  the 
captain's  right,  his  left  supporting  the  captain's  left  arm. 
He  stands  looking  down  upon  him,  with  an  expression  of 
alarm  upon  his  face.  He  wears  an  evening-dress  of  black 
cloth,  and  tall  silk-hat.  The  other  second  is  on  the  left, 
behind  his  principal,  at  some  little  distance,  and  nearer  the 
rear  of  the  stage.  His  left  foot  is  placed  at  about  two  feet 
in  front  of  the  right,  as  if  advancing  ;  and  his  head  stretched 
forward  as  he  looks  toward  the  duellist  with  an  anxious 
expression.  He  is  dressed  similarly  to  the  opposite  second, 
with  an  evening-dress  of  black  cloth,  modern,  and  tall  silk- 
hat.  The  manager  outside  should  take  care  that  the  imita- 
tion-snow is  kept  falling,  and  should  provide  himself  with 
a  sufficient  quantity  of  small  pieces  of  white  paper  a  quar- 
ter of  an  inch  square  for  the  purpose.  A  bright  white  light 
should  be  thrown  upon  the  figures. 

Music,  "  Prayer  from  Der  Freitschutz,"  or  other  similar 
piece,  very  softly  played. 


64  PARLOR   TABLEAUX. 


THE  TWO   BRIDES. 

TWO    LADIES. 

Worn  with  fasting  and  with  vigil, 
And  with  centuries  of  prayers ; 
With  a  thousand  tasks  of  penance, 
And  the  living  death  of  years  ; 
With  half-hearted  Aves  weary; 
Weary  with  the  callous  psalm  ; 
Weary  with  the  listless  Credo, 
And  the  strain  of  outward  calm  ; 

Sleep,  by  evil  spirit  troubled, 

Fleeing  at  the  matin-bell ; 

Tears  that  start  to  eyes  scarce  waking  ; 

Sighs  that  will  not  quit  her  cell : 

So  the  long-drawn  days  have  opened 

Of  the  lonely,  loveless  life 

Of  a  bride,  —  the  bride  of  Heaven,  — 

A  living  bride,  but  never  wife. 


So  she  leaves  her  round  of  duties, 
Brings  what  show  of  joy  she  may, 
To  infold  her  blushing  sister 
In  her  arms  this  bridal  day : 


THE    TWO    BRIDES.  65 

And  she  trembles  as  she  greets  her 
With  what  loving  words  she  can  ; 
Trying  to  trust  in  God  and  mercy, 
Yet  she  disbelieves  in  man. 

A  SISTER  OF  CHARITY,  who  for  years  has  excluded  herself 
from  the  world  from  some  bitter  disappointment  in  youth, 
emerges  from  her  retirement  on  the  occasion  of  her  sister's 
wedding-day,  and  is  present  with  the  young  bride  for  the 
first  time  since  the  younger  sister's  childhood.  The  young 
bride  of  twenty,  with  her  bright  future  before  her,  and  the 
woman  of  forty,  who  knows  no  further  joys  in  life,  and  to 
whom  this  scene  recalls  sad  recollections  of  the  past,  form  a 
striking  contrast.  The  young  bride  stands  at  the  right  of  the 
centre  of  the  stage,  her  hands  elapsed  upon  her  bosom,  and 
looking  out  towards  the  right  with  a  pleased,  hopeful  ex- 
pression. She  is  dressed  in  white,  with  a  wreath  of  orange- 
blossoms,  and  a  veil  hanging  almost  to  the  ground.  Her 
companion  is  dressed  in  a  robe  of  black  serge  with  drapery- 
sleeves,  a  tight-fitting  white  cap,  white  band  round  the  chin, 
and  broad  white  collar.  Her  arms  are  around  her  sister's 
neck,  her  face  careworn  ;  and  she  looks  toward  the  right 
with  a  sad  and  painful  expression.  A  soft  white  light 
should  be  thrown  from  right.  Music,  some  sacred  hymn. 
5 


66  PARLOR   TABLEAUX. 


THE  WOUNDED   SCOUT. 

TWO   GENTLEMEN. 

As  loftier  rise  the  ocean's  heaving  crests 

Ere  they  sink,  tempest-driven,  on  the  strand ; 

So  do  these  hearts  and  freedom-beating  breasts, 
Sublimed  by  suffering,  fall  upon  our  land. 

Wounded  !  —  O  sweet-lipped  word  !  for  on  the  page 
Of  this  strange  history,  all  these  scars  shall  be 

The  hieroglyphics  of  a  valiant  age, 
Deep  writ  in  Freedom's  blood  and  mystery. 


Then  deem  them  not  as  lost,  those  bitter  days  ; 

Nor  those  which  yet  in  anguish  must  be  spent 
Far  from  loved  skies  and  home's  peace-moving  ways ; 

For  these  are  not  the  lovers  you  lament. 


It  is  the  glory  that  your  country  bore 

Which  you  would  rescue  from  a  living  grave ; 

It  is  the  unity  that  once  she  wore 

Which  your  true  hearts  are  yearning  still  to  save. 

REBELLION  RECORD. 


THE   WOUNDED    SCOUT.  67 

THIS  is  one  of  many  scenes  of  the  kind  that  doubtless 
occurred  during  the  late  war,  and  represents  a  Union  sol- 
dier, badly  wounded,  supported  by  a  faithful  negro  refugee, 
who  has  fallen  in  with  him,  barely  in  time  to  rescue  him 
from  death.  The  soldier  stands  a  little  to  the  right  of  the 
centre  of  the  stage,  his  head  leaning  against  his  compan- 
ion's shoulder,  his  left  arm  supported  by  the  negro,  and  his 
right  arm  hanging  at  his  side.  The  right  sleeve  of  the  sol- 
dier's coat  should  be  ripped  up  ;  the  seam  showing  the  bare 
arm,  round  which  a  bandage  is  tied  at  the  elbow,  and  a 
small  branch  of  a  tree  twisted  through  the  bandage,  with 
one  end  fastened  to  his  belt. 

He  should  be  dressed  in  the  Union  uniform,  —  dark-blue 
coat,  and  light-blue  trousers.  His  head  is  bare  ;  and  his  face 
wears  an  expression  of  anguish,  as,  with  his  eyes  partly 
closed,  he  leans  against  the  negro.  The  gentleman  personat- 
ing the  negro  should  be  rather  tall,  and  of  stout  frame  :  his 
face,  neck,  and  arms  should  be  properly  blacked  ;  arid  he 
should  stand  with  his  right  arm  round  the  soldier,  his  left 
arm  raising  the  left  arm  of  the  soldier.  His  face  is  looking 
towards  the  right  with  a  watchful  expression. 

He  is  dressed  in  a  torn,  striped  shirt,  and  short  trousers, 
also  torn.  Flashes  of  red  light  should  be  thrown  from  the 


PARLOR    TABLEAUX. 


right  upon  the  figures,  leaving  the  stage  very  dark  at  inter- 
vals.    Music  alternately  loud  and  soft. 


THE   LION   IN   LOVE. 

ONE     LADY    AND     GENTLEMAN. 

Ah !  love  was  never  yet  without 
The  pang,  the  agony,  the  doubt, 
Which  rends  my  heart  witli  ceaseless  sigh, 
While  day  and  night  roll  darkling  by. 

Without  one  friend  to  hear  my  woe, 
I  faint,  I  die,  beneath  the  blow  : 
That  love  had  arrows,  well  I  knew ; 
Alas  !  I  find  them  poisoned  too. 

In  flattering  dreams,  I  deemed  thee  mine  ; 
Now  hope,  and  he  who  hoped,  decline  : 
Like  melting  wax  or  withering  flower, 
I  feel  my  passion  and  thy  power. 

My  light  of  life,  ah !  tell  me  why 

That  pouting  lip  and  altered  eye  : 

My  bird  of  love,  my  beauteous  mate  ! 

And  art  thou  changed  ?  and  canst  thou  hate  ? 

BYRON. 


THE   LION   IN   LOVE.  69 

THIS  is  a  little  domestic  tableau,  and  represents  an  old 
British-army  officer,  who,  yielding  to  the  tender  passion, 
has  become  the  devoted  admirer  of  a  young  French  lady, 
who  heartily  enjoys  his  awkward  but  well-meant  endeavors 
to  show  her  attention.  A  sofa,  or  tete-a-tete,  should  be 
placed  in  the  centre  of  the  stage,  upon  which  the  couple  are 
seated,  the  lady  being  at  the  right.  Her  right  arm  is  upon 
the  arm  of  the  sofa,  while  her  left  is  slightly  raised 
and  extended,  holding  a  small  lace  handkerchief;  her  head 
is  inclined  forward,  looking  at  her  companion  with  an 
amused  expression.  She  wears  a  black-velvet  basque  with 
drapery-sleeves,  and  under-sleeves  of  lace,  lace  collar,  and 
crimson-silk  skirt ;  or  a  handsome  evening  dress.  Her  hair 
should  be  dressed  in  the  French  style,  with  puffs  at  the  side, 
and  back  comb. 

The  old  officer  should  be  seated  on  the  left  of  the  sofa, 
his  left  hand  holding  a  needle  up  before  him,  which  he  is 
vainly  endeavoring  to  thread  with  his  right :  his  features 
are  wrinkled  with  a  frown,  as  he  looks  at  the  needle  with 
an  anxious  expression.  He  wears  a  red  cut-away  coat  with 
gilt  buttons  and  epaulets,  trousers  of  white  or  buff  mate- 
rial, and  a  gray  wig,  with  side-whiskers  and  mustache. 
His  sword  and  hat  are  lying  upon  the  floor  at  his  feet.  The 


70  PARLOR    TABLEAUX. 

stage   may  have  a  small  table  with  flowers  on  each  side,  or 
ornamental  chairs.     Music,  some  lively  waltz. 


ANGELS  OF  BUENA  VISTA. 

FOUR    GENTLEMEN    AND    THREE     LADIES. 

Close  beside  her,  faintly  moaning,  fair  and  young,  a  soldier  lay, 
Torn  with  shot,  and  pierced  with  lances,  bleeding  slow  bis  life  away; 
But,  as  tenderly  before  him  the  lorn  Ximcna  knelt, 
She  saw  the  Northern  eagle  shining  on  his  pistol-belt. 

With  a  stifled  ciy  of  horror,  straight  she  turned  away  her  head ; 

With  a  sad  and  bitter  feeling  looked  she  back  upon  h-r  dead : 

But  she  heard  the  youth's  low  moaning  and  his  struggling  breath  ot 

pain, 
And  she  raised  the  cooling  water  to  his  parching  lips  again. 

Whispered  low  the  dying  soldier,  pressed  her  hand,  and  faintly  smiled. 
Was  that  pitying  face  hh  mother's  ?  did  she  watch  beside  her  child  ? 
All  his  stranger  words  with  meaning  her  woman's  heart  supplied. 
With  her  kiss  upon  his  forehead,  "  Mother!  "  murmured  he,  and  died. 

But  the  noble  Mexic  women  still  their  holy  task  pursued 

Through  that  long  dark  night  of  sorrow,  worn  and  faint,  and  lacking 

food: 

Over  weak  and  suffering  brother  with  a  tender  care  they  hung, 
And  the  dying  foeman  blessed  them  in  a  strange  and  Northern  tongue. 


ANGELS    OF    BUENA    VISTA.  71 

Not  wholly  lost,  0  Father !  is  this  evil  world  of  ours  : 
Upwards  from  its  dust  and  ashes  spring  afresh  the  Eden-flowers  ; 
From  its  smoking  hell  of  battle,  love  and  pity  send  their  prayer ; 
And  still  thy  white-winged  angels  hover  dimly  in  the  air. 

WHITTIER. 

THIS  tableau,  from  the  famous  poem  of  the  above  title, 
represents  a  scene  upon  the  battle-field  of  Buena  Vista,  in 
many  respects  the  hardest-fought  battle  of  the  Mexican 
War  of  1845  and  1848.  It  furnishes  a  subject  strikingly 
beautiful  for  the  purpose  of  a  tableau,  and  may  be  pro- 
duced with  but  little  preparation  and  expense. 

The  foreground  of  the  picture,  in  the  centre,  is  occupied 
by  two  figures,  —  a  lady  and  gentleman,  —  in  the  position 
described  in  the  second  stanza  of  the  poem  quoted  above. 

A  soldier  of  the  United-States  army  is  discovered  lying 
upon  the  floor,  his  head  towards  the  right  of  the  stage, 
and  the  upper  portion  of  his  body  raised  from  the  floor  by 
the  lady  beside  him.  He  is  dressed  in  the  dark-blue  coat 
and  trousers  worn  at  that  time  ;  his  head  is  bare  ;  and  the 
mark  of  a  wound  is  painted  upon  his  forehead,  his  face 
being  very  pale. 

His  right  hand  rests  upon  the  floor,  partially  supporting 
his  body  ;  while  his  left  is  raised  towards  the  lady,  as  if  en- 


72  PARLOR   TABLEAUX. 

deavoring  to  grasp  her  hand.     He  gazes  upwards  at  the 
lady,  with  a  faint  smile  upon  his  face. 

The  lady  kneels  at  his  left  side,  with  her  right  arm 
thrown  around  his  neck,  and  raising  him,  while  her  left 
holds  a  cup  of  water  towards  his  lips  ;  and  she  looks  at  him 
with  a  sad  but  tender  expression  on  her  face.  She  should 
be  of  dark  complexion,  and  her  hair  should  be  allowed  to 
fall  over  her  shoulders.  Her  costume  is  a  dress  of  white 
silk  or  satin,  black-velvet  bodice,  and  a  long  cloak,  or  robe, 
with  drapery-sleeves,  of  crimson  or  black  colored  material, 
thrown  open  in  front,  with  a  long  black  veil  upon  her  head, 
hanging  over  her  shoulders.  On  the  left  of  the  stage,  one 
of  the  other  ladies  is  kneeling,  looking  down  at  a  Mexican 
soldier,  whose  head  is  in  her  lap  :  her  right  hand  is  laid 
upon  his  head,  while  her  left  holds  a  small  cross  before 
him.  She  should  be  dressed  in  a  costume  of  scarlet  or 
crimson  colored  dress,  with  black  bodice,  long  black  robe, 
or  cloak,  with  drapery-sleeves,  thrown  open  in  front,  and  a 
gilt  coronet  upon  her  head,  with  veil  falling  behind.  The 
soldier  lies  with  his  head  upon  her  lap,  his  eyes  closed,  and 
his  feet  towards  the  centre  of  the  stage.  His  face  should 
be  very  pale  ;  and  he  should  wear  a  uniform  of  dark  trousers 
and  green  jacket,  open  in  front :  his  arms  should  be  allowed 


ANGELS    OF    BUENA    VISTA.  73 

to  fall  naturally  at  his  side.  Upon  the  right  of  the  stage, 
a  soldier  in  the  United-States  uniform  is  lying,  with  his 
head  towards  the  right,  his  face  towards  the  audience ;  his 
right  arm  extended  under  his  head  towards  the  right,  while 
his  left  arm  hangs  naturally  by  his  side.  The  mark  of  a 
sabre-wound  is  made  upon  his  temple,  and  his  eyes  are 
closed.  A  lady  kneels  beside  him,  a  little  farther  towards 
the  back  of  the  stage,  with  her  hands  clasped,  as  if  offering 
a  prayer.  She  wears  a  dress  of  blue  silk,  dark  bodice,  and 
white  robe,  with  drapery-sleeves  reaching  to  the  elbow. 
Her  hair  is  dressed  in  the  Spanish  style,  with  a  large  comb 
behind,  a  coronet  of  silver  or  pearl  beads,  and  a  long  veil 
hanging  over  her  shoulders. 

The  remaining  figure  of  the  group  is  a  gentleman, 
dressed  in  a  uniform  of  dark-green  jacket  and  trousers, 
lying  in  the  centre  of  the  stage,  in  the  rear  of  the  couple  in 
the  foreground.  His  face  is  very  pale,  and  his  hands  are 
crossed  upon  his  breast.  His  eyes  are  closed,  and  his  felt 
hat,  with  plume,  is  laid  beside  him.  A  white  light  should 
be  thrown  from  the  right  upon  the  figures,  changing  to  a 
brilliant  red  flame. 

Music  alternately  loud  and  soft,  ending  in  some  sacred 
hymn. 


74  PARLOR   TABLEAUX. 


MIGNON   ET   SON   PERE. 

ONE   GENTLEMAN    AND   A   YOUNG   GIRL. 

THIS  tableau  is  from  an-  old  engraving,  and  represents  an 
old  bard  and  his  grandchild  in  a  picturesque  attitude.  The 
old  man  is  on  the  left  hand  of  the  picture,  and  near  the 
front.  He  is  dressed  in  a  loose  monk's  robe  of  black  or 
brown  serge,  with  the  hood  thrown  back  on  his  shoulders. 
He  kneels  upon  his  right  knee  ;  while  his  right  arm  is  car- 
ried across  his  body,  and  rests  upon  his  left  knee,  which  is 
slightly  raised  from  the  floor.  His  left  hand  rests  upon  an 
old-fashioned  harp  beside  him  ;  while,  with  a  fixed,  melan- 
choly air,  he  gazes  forward.  He  should  have  a  full,  pointed, 
white  beard  and  mustache  and  wig,  to  match  with  a  bald 
front. 

Mignou's  costume  is  a  plain  white-cotton  wais.,  with  low 
neck  and  drapery-sleeves,  showing  her  arms  bare  to  the 
elbow.  Her  skirt  is  a  plain  gray  serge,  with  a  small  scarf 
for  girdle,  reaching  a  trifle  below  the  knees,  showing  her 
feet,  which  are  without  shoes.  The  hair  should  be  combed 


THE    REPRIMAND.  75 

plainly  back  from  her  face,  and  allowed  to  hang  down  on 
her  shoulders.  Mignon  is  standing  to  the  right  of  the  old 
man,  looking  wistfully  at  him,  with  her  chin  supported  upon 
her  left  hand,  the  elbow  of  which  rests  upon  the  back  of  her 
right  hand,  as  it  lies  upon  her  left  hip.  This  position  will, 
of  course,  present  a  two-thirds  view  of  her  face  to  the 
audience.  A  bright  white  light  should  be  thrown  upon  the 
female  figure,  leaving  the  old  man  entirely  in  the  shade. 
Music  very  slow  and  soft. 


THE    REPRIMAND. 

SIX   OR    EIGHT    LADIES. 

THE  scene  of  this  tableau  is  laid  in  a  charity-school,  and 
may  bring  into  service  any  number  of  young  girls  from  six 
to  fourteen  years  of  age. 

A  lady,  personating  a  Sister  of  Charity,  should  be  seated 
on  the  right  of  the  stage,  facing  the  audience,  looking 
towards  the  left.  In  her  left  hand  she  holds  that  of  one  of 
the  little  girls,  who  stands  before  her  ;  \vhile  her  right  arm 
is  raised,  her  finger  extended,  as  if  admonishing  the  young 


76  PARLOR   TABLEAUX. 

girl.  She  should  be  dressed  in  plain  black,  with  very  broad 
white  collar,  and  cap,  or  hood,  also  white.  The  little  girl 
should  be  dressed  in  a  brown  or  blue  dress,  with  long  calico 
pinafore.  She  should  stand  to  the  left  of  the  lady,  with  one 
finger  in  her  mouth,  and  looking  down  towards  the  ground, 
as  if  ashamed. 

One  of  the  girls  should  be  seated  in  the  right  corner  of 
the  stage,  nearest  the  audience,  with  her  back  towards  the 
audience,  looking  intently  at  the  lady  and  young  girl.  The 
remaining  girls  should  be  seated  on  low  benches,  at  the  rear 
of  the  stage.  Music  lively. 


THE   REWARD   OF   MERIT. 

A    LADY   AND   SIX   OR    MORE    YOUNG    GIRLS. 

THIS  is  a  companion-picture  to  "  The  Reprimand,"  and 
brings  into  service  the  same  characters.  The  lady  person- 
ating the  Sister  of  Charity  stands  in  the  centre  of  the  stage. 
She  should  carry  in  her  hands  pictures  and  cards  for  re- 
wards. The  children  should  be  ranged  around  her,  —  some 
in  groups  of  two  or  three, — pointing  at  and  showing  each 
other  their  rewards  ;  while  five  or  six  press  around  her, 


THE    SUCCESSFUL    PICTURE.  77 

holding  out  their  hands  for  the  pictures,  which  she  holds 
towards  them.  At  the  back  of  the  stage,  seated  iu  rather 
a  high  chair,  one  of  the  children  is  seated,  with  a  fool's  cap 
on  her  head,  holding  a  book  to  her  face,  as  if  ashamed. 
The  other  children  should  all  wear  a  joyous  expression.  If 
it  is  not  practicable  for  the  children  all  to  be  dressed  uni- 
formly, they  may  have  aprons  alike  ;  but  there  should  be 
no  mixture  of  white  muslins  and  brown  calicoes,  silks  and 
ginghams,  as  the  subject  forbids  the  introduction  of  nice 
dresses.  Music  lively. 


THE    SUCCESSFUL    PICTURE. 

ONE   GENTLEMAN    AND   TWO    LADIES. 

THIS  tableau  is  a  natural  fireside  group  of  three  figures,  — 
an  artist,  his  sitter,  and  her  mother.  At  the  left-hand  cor- 
ner of  the  stage,  back,  is  placed  a  large  arm-chair,  in  which 
is  seated  the  mother,  looking  admiringly  upon  the  picture 
which  stands  upon  the  floor,  in  front  of  her,  resting  upon  the 
back  of  a  Gothic  chair,  and  the  back  of  the  picture-frame 
being  thus  turned  towards  the  audience.  The  mother  is 
attired  in  a  plain  black  dress,  with  a  white-lace  cap  upon 


78  PARLOR   TABLEAUX. 

her  head,  which  is  inclined  forward  as  she  looks  at  the 
picture  with  a  pleased  expression,  and  her  right  hand  raised 
from  her  lap,  as  if  speaking  praises  of  the  portrait.  A 
pair  of  spectacles  completes  her  costume.  The  artist  stands 
directly  behind  the  arm-chair,  his  right  arm  resting  upon 
the  top,  his  left  arm  bent,  with  the  hand  upon  his  left  hip 
holding  his  hat.  His  legs  are  crossed  naturally,  as  he 
stands  looking  over  the  old  lady  at  his  picture  with  a 
satisfied  air.  His  dress  should  be  a  plain  black,  or  of  some 
dark  cloth.  The  young  lady,  who  is  supposed  to  have  been 
sitting  for  the  picture,  is  half  kneeling  upon  the  ground, 
partially  supported  by  her  right  hand,  whicn  rests  upon  the 
floor.  She  is  close  to  her  mother's  left  side,  her  head  about 
the  height  of  her  mother's  shoulder  from  the  floor ;  her 
right  hand  lies  naturally  upon  the  folds  of  her  dress  ;  her 
hair  is  tastefully  dressed  ;  and  she  looks  upon  the  picture,  as 
if  tracing  a  resemblance.  She  should  be  dressed  in  a  bright 
pink  or  blue  silk,  a  white  lace  waist,  with  long  sleeves,  and 
a  bodice  of  dark  velvet  or  silk. 

There  may  be  some  small  articles  of  furniture  introduced, 
and  a  picture  or  two  may  be  hung  at  the  background. 

A  soft  white  light  may  be  thrown  from  the  right  on  the 
faces  of  all  the  figures.  Music  lively. 


RAPHAEL'S  CHERUBS.  79 


RAPHAEL'S    CHERUBS. 

TWO   YOUNG   BOYS. 

THIS  tableau,  one  of  the  most  beautiful  of  the  collection, 
will  call  into  service  two  young  boys  of  from  six  to  ten 
years  of  age,  with  round  features  and  curling  -hair.  They 
should  be  dressed  in  a  tight-fitting  garment  of  flesh-colored 
material,  so  as  to  show  the  natural  shape  of  the  upper  part 
of  the  body.  They  should  be  provided  with  small  imitation 
cherub-wings  of  gauze  or  paper,  fastened  to  the  shoulders. 
A  narrow  board,  on  supports  two  or  three  feet  high,  should 
extend  across  the  stage,  at  the  back,  the  top  of  it  covered 
with  blue  cambric,  or  paper  of  the  same  color  ;  the  supports 
being  concealed  by  cloth  or  cambric,  tacked  on  the  board, 
and  extending  across,  or  by  a  piece  of  scenery  in  imitation 
of  clouds. 

The  boys  representing  the  cherubs  should  take  their 
position  near  the  back  of  the  stage,  and  behind  the  board 
just  mentioned,  —  one  on  the  right  of  the  centre,  the  other 
on  the  left.  The  figure  on  the  left  should  kneel  behind  the 
board,  his  arms  lying  horizontally  on  the  board,  his  right 


80  PARLOR   TABLEAUX. 

fore-arm  crossed  over  the  left,  and  his  chin  resting  on  his 
right  wrist ;  while  he  looks  upward  with  a  hopeful  expression, 
his  full  face  being  turned  towards  the  audience.  In  this 
position,  no  part  of  the  body,  with  the  exception  of  the 
head  and  arms,  will  be  visible  from  the  front. 

The  figure  on  the  right  kneels  behind  the  board,  so  as  to 
display  the  upper  part  of  his  body  from  a  few  inches  below 
the  shoulders.  His  right  arm  is  bent  at  the  elbow,  so  that 
the  right  fore-arm  and  hand  rest  horizontally  on  the  board, 
parallel  with  his  body.  His  left  elbow  also  rests  upon  the 
board,  his  chin  being  supported  on  his  left  hand.  He  should 
look  upwards  towards  the  left,  with  a  hopeful  expression, 
so  as  to  exhibit  a  two-thirds  view  of  his  face  to  the 
audience ;  his  left  wing  not  being  visible  to  the  audience. 
He  should  stand  so  close  to  the  board,  that  his  body  will 
rest  against  it  as  he  kneels.  A  thick,  blue  smoke  should  be 
produced  back  of  and  around  them,  while  a  bright-blue 
light  is  thrown  upon  their  faces.  Music,  some  sacred  hymn. 


HOMELESS.  81 


HOMELESS. 

TWO    LADIES. 

THIS  is  a  domestic  tableau  from  a  modern  painting  rep- 
resenting two  friendless  and  homeless  orphan-girls.  A  girl 
of  twelve  or  fourteen  years  of  age  may  represent  the  elder 
of  the  two  figures.  She  should  be  dressed  in  a  plain  drab 
dress,  reaching  within  a  few  inches  of  the  ground,  showing 
her  unclad  feet.  An  ordinary  striped  woollen  shawl  should 
be  thrown  over  her  head  and  shoulders  and  pinned  under  her 
chin.  With  her  right  hand  she  holds  to  her  bosom  a  small 
bunch  of  flowers,  while  her  left  hand  is  around  her  younger 
sister's  neck.  Her  position  should  be  a  little  to  the  right 
of  the  centre  of  the  stage,  and  looking  thoughtfully  forward. 
The  younger  sister  is  dressed  in  a  plain  blue  dress  with  low 
neck  and  short  skirt.  She  wears  on  her  head  a  hood,  and 
on  her  shoulder  a  small  cape,  showing  her  bare  arms  and 
neck  ;  or  else  a  shawl  arranged  as  her  sister's,  and  a  checked 
apron  tied  around  her  waist.  She  should  stand  on  the  left 
of  her  sister,  her  h'ead  slightly  inclined  towards  her,  with 
the  forefinger  of  her  right  hand  in  her  mouth,  and  holding 


82  PARLOR   TABLEAUX. 

carelessly  in  her  left   a  few  flowers.     In  age,  she  should  be 
from  three  to  four  years  younger  than  her  companion. 

If  scenery  is  used,  the  background  should  be  a  landscape. 
A  soft  white  light  may  be  thrown  upon  the  figures.  Music 
soft  and  plaintive. 


GUARDIAN   ANGELS. 

TWO    LADIES,    A    BOY,    AND   A    YOUNG   GIRL. 

FOR  this  tableau,  two  rather  tall  young  ladies  (one  dark, 
and  the  other  of  light  complexion),  a  girl  of  twelve,  and  a 
boy  of  five  or  six  years  of  age,  are  required. 

The  taller  of  the  ladies  stands  at  the  left  of  the  centre  of 
the  stage,  back.  She  should  be  dressed  in  a  plain  white 
muslin,  without  crinoline,  with  long  or  drapery  sleeves,  and 
with  white  cotton  draped  over  her  shoulders,  reaching  to 
the  floor.  She  should  have  -a  pair  of  wings  made  of  tissue- 
paper  over  a  wire  frame,  and  her  hair  should  be  allowed  to 
fall  over  her  shoulders.  Her  hands  are  clasped,  and  she 
looks  down  upon  the  children  who  are  in  front  of  her. 

The  other  young  lady  stands  on  the  right  of  the  taller, 


GUARDIAN    ANGELS.  83 

similarly  attired  in  every  respect,  with  her  left  hand  touch- 
ing the  left  shoulder  of  her  companion  :  she  points  with  her 
right  to  the  children,  thus  presenting  a  two-thirds  view  of 
her  face  to  the  audience.  A  small  green  bank  should  be 
placed  at  the  feet  of  the  young  ladies  representing  the  angels, 
between  them  and  the  children. 

The  young  girl  should  be  seated  on  this  bank,  with  her 
head  leaning  upon  her  right  hand,  the  elbow  of  which  rests 
on  the  bank. 

She  is  dressed  in  a  black,  or  some  plain,  dark-colored 
dress  ;  and  she  looks  down,  with  her  eyes  partly  closed,  at 
the  young  boy,  whose  head  is  in  her  lap.  Her  hair  is 
combed  plainly,  and  on  her  left  is  placed  a  small  basket. 
The  boy  is  dressed  in  a  short  frock  of  some  plain  material, 
reaching  to  the  knee.  He  lies  upon  the  girl's  lap,  face  up- 
wards, with  eyes  closed,  as  in  sleep  ;  his  left  arm,  upon 
which  her  hand  rests,  on  her  knee.  His  right  arm  lies 
across  his  body,  and  his  legs  are  crossed  naturally. 

A  bright-blue  fire  should  be  thrown  upon  the  two  figures 
in  the  background,  leaving  the  children  in  the  foreground  in 
the  shade.  Music  soft  and  low.  . 

If  scenery  is  used,  the  background  should  be  a  landscape. 


84  PARLOR    TABLEAUX. 


VISION  OF  PAST,  PRESENT,  AND  FUTURE. 

THREE    LADIES. 

THREE  good-looking  young  ladies  are  required  to  produce 
this  tableau.  As  there  is  nothing  else  in  the  picture,  of 
course  the  interest  centres  on  them.  The  elder  of  the  young 
ladies  stands  upon  the  left  of  the  picture,  with  her  profile 
towards  the  audience,  and  looking  towards  the  left.  She 
should  be  dressed  in  plain  dark  drapery,  falling  to  the 
ground,  with  low  neck. 

This  figure  represents  the  Past,  and  should  look  towards 
the  left  with  rather  a  melancholy  expression.  On  her  head 
she  wears  a  wreath  of  myrtle  or  ivy-leaves  ;  her  hair  other- 
wise plainly  dressed. 

The  Present  should  be  represented  by  a  rather  tall 
young  lady  of  light  complexion.  She  stands  in  the  centre, 
directly  facing  the  audience,  with  her  right  hand  slightly 
raising  her  dress ;  her  left  resting  on  her  bosom,  holding  a 
string  of  wax-beads,  that  pass  round  her  neck  in  a  double 
strand.  Her  dress  should  be  a  simple  white  muslin,  low 


VISION    OF    PAST,    PRESENT,    AND    FUTURE.  85 

neck,  and  short  sleeves,  drapery.  Her  hair  is  combed  back 
in  front,  and  should  fall  in  ringlets  behind.  Her  full  face 
is  turned  toward  the  audience,  and  she  wears  a  pleased 
expression. 

The  Future,  represented  by  the  youngest  lady,  should 
also  be  a  blonde.  She  stands  very  close  to  and  a  little  be- 
hind the  second  figure  mentioned,  so  that  her  left  arm  and 
side  are  concealed  from  the  front.  Her  head,  however, 
should  be  inclined  to  the  right  somewhat,  so  as  to  show 
the  whole  face.  Her  right  arm  is  elevated  over  her  head, 
with  a  butterfly  on  her  hand,  at  which  she  looks  playfully 
upward.  She  should  wear  a  white-muslin  dress,  with  small 
sleeves,  a  blue-silk  sash,  and  a  lace  scarf  or  veil  fastened  at 
her  waist,  and  streaming  over  the  right  shoulder.  Her  hair 
should  be  combed  back  in  wavy  tresses.  A  light-blue  light, 
with  considerable  smoke,  should  light  up  the  picture  ;  and 
the  lower  portion  of  the  figures  may  -be  concealed  by  a  piece 
of  scenery  painted  in  imitation  of  clouds.  The  revolving 
platform  may  be  used  with  advantage  in  this  tableau. 
Music  soft. 


86  PARLOH   TABLEAUX. 


THE  HUGUENOT   LOVERS. 

ONE  GENTLEMAN  AND  ONE  LADY. 

MILLAR'S  celebrated  painting  furnishes  the  subject  for 
this  tableau.  The  incident  from  which  the  picture  takes  its 
name  is  supposed  to  have  occurred  on  the  day  of  the  Mas- 
sacre of  St.  Bartholomew,  and  represents  the  parting  of  a 
French  lady  of  high  rank  from  her  Huguenot  lover. 

The  tableau  should  not  be  attempted  unless  it  can  be  cor- 
rectly dressed,  and  the  characters  accurately  personated. 
The  lady  should  stand  on  the  right  of  the  centre  of  the 
stage,  with  an  expression  of  entreaty  on  her  countenance, 
and  facing  towards  the  left,  so  that  but  little  more  than 
half  of  her  face  is  turned  towards  the  audience.  She 
should  be  of  light  complexion,  straight  features ;  and  her 
hair  should  be  allowed  to  fall  over  her  shoulders. 

Her  costume  should  be  a  riding-skirt  of  black  velve.t  or 
silk  ;  a  basque  of  the  same,  with  long  sleeves,  puffed  at  the 
shoulders,  slashed  with  white,  and  with  white-lace  cuffs. 

She   should  hold   in  her   hands,  behind  the  gentleman's 


THE    HUGUENOT    LOVERS.  87 

back,  a  silk  scarf  of  some  light  color,  passing  around  her 
neck,  over  his  left  arm  arid  under  his  right,  tied  in  a  knot. 
In  this  position  her  left  arm  will  be  passed  around  his 
waist,  under  his  right  arm,  with  one  end  of  the  scarf  in  her 
left  hand,  the  other  in  the  right.  The  gentleman  should  be 
tall,  with  straight  features. 

He  should  stand  facing  the  lady,  looking  down  towards 
her  face  with  an  earnest,  assuring  expression  ;  holding  her 
head  to  his  breast  with  his  left  hand,  while  his  right  arm  is 
passed  around  her  neck. 

His  dress  is  a  black-velvet  riding-coat ;  velvet  vest,  with 
white  lawn  or  lace  ruffles  ;  black  stockings  ;  pumps  ;  knee- 
buckles  ;  and  one  of  the  long  black-velvet  hats  of  the  period. 
The  left  side  of  his  face  only  should  be  towards  the  audi- 
ence. The  light  should  be  thrown  upon  the  figures,  so  that 
the  gentleman  will  be  in  the  shade.  If  scenery  is  used,  the 
stage  should  represent  a  garden-scene.  Music  soft. 


88  PARLOR   TABLEAUX. 


THE   ORPHAN'S   DREAM. 

ONE   LADY   AND   ONE    BOY. 

THE  characters  in  this  tableau  are  a  lady  representing 
the  mother,  and  a  boy  of  from  four  to  six  years  of  age. 
The  lady  should  be  of  light  complexion,  young,  with  long 
ringlets  hanging  over  her  shoulders.  She  should  stand  to 
the  left  of  the  boy,  who  is  in  an  arm-chair  in  the  centre  of 
the  stage.  Her  costume  is  of  some  white  material,  with  a 
drapery  of  white  muslin  or  lace,  and  artificial  wings  of  mus- 
lin or  paper. 

She  bends  over  the  boy,  looking  down  towards  his  face 
with  an  earnest  expression  ;  her  hands  clasped  ;  and  her  pro- 
file, only,  turned  towards  the  audience.  She  may  also  wear 
a  lace  veil  on  her  hair. 

The  boy  should  be  lying  in  the  chair,  with  his  head  on 
the  right  arm,  his  eyes  closed  as  if  sleeping,  his  face  turned 
towards  the  audience.  He  may  be  dressed  in  any  costume 
suitable  to  his  age  ;  though  one  of  black  cloth  or  velvet 
would  be  the  most  suitable.  He  should  wear  a  white  shirt 


A   HARD    SHAVE.  89 

and  undersleeves,  his  jacket  being  open  in  front,  his  skirt 
reaching  to  his  knees,  which  are  bare.  His  right  leg  should 
lie  on  the  chair,  and  the  left  should  be  hanging  crossed  over 
it.  His  left  arm  lies  on  his  lap,  his  right  arm  against  the 
arm  of  the  chair  ;  his  hand,  from  which  a  book  has  just 
fallen,  hanging  down.  He  should  be  of  light  complexkm. 
On  the  left  of  the  chair,  a  small  table,  on  which  is  a  bouquet, 
may  be  placed.  A  bright  white  light  should  be  thrown  on 
the  figures  from  the  left.  Music,  piano.  » 


A   HARD   SHAVE. 

ONE   GENTLEMAN. 

THIS  tableau  is  represented  by  one  gentleman,  who  is 
seated  on  a  stool  in  the  centre  of  the  stage,  at  a  small 
table.  On  the  table  is  a  small  mirror  leaning  against  a 
broken  pitcher,  and  shaving  materials.  He  is  seated  with 
his  left  side  towards  the  audience,  and  looking  to\vards  the 
right  at  the  glass.  He  should  be  in  his  shirt-sleeves,  his 
chin  covered  with  lather,  his  right  hand  with  the  razor  just 
shaving  the  soap  off,  while  his  face  wears  an  expression  of 


90  PARLOR   TABLEAUX. 

great  pain.     He  should  have  his  right  shirt-sleeve  turned 
up,  his  left  hand  resting  on  his  knee. 

The  effect  depends  upon  the  comic  expression  produceO 
by  the  actor,  and  may  be  made  very  laughable.  Music 
lively. 


COMIN'  THROUGH   THE   RYE. 

> 

ONE  GENTLEMAN  AND  ONE  LADY. 

If  a  body  meet  a  body  com  in'  through  the  rye, 

If  a  body  kiss  a  body,  need  a  body  cry  ? 

Every  lassie  has  her  laddie;  nane,  they  say,  havo  It 

Yet  all  the  lads  they  smile  on  me  a-comin'  through  the  rye. 

THE  tableau  represents  the  heroine  of  the  above  versi 
in  the  act  of  receiving  a  kiss  from  one  of  the  laddies  men- 
tioned. She  should  stand  to  the  right  of  the  centre  of  the 
stage,  with  her  face  turned  slightly  towards  the  right,  away 
from  the  young  man,  who  stands  beside  her.  Her  right 
hand  should  be  raised  before  her,  as  if  putting  him  off.  Her 
costume  should  be  a  Highland  dress  of  plaid,  or  a  blue 
skirt  and  white  peasant-waist,  with  a  scarf  thrown  over  her 
shoulders. 


THE  MOTHER'S  GRAVE.  91 

The  young  man  should  stand  at  her  left,  with  his  right 
arm  around  her  waist,  his  left  hand  holding  her  left  to  his 
breast ;  while  his  head  should  be  inclined  forward,  his  lips 
touching  her  cheek.  He  should  be  dressed  in  striped  pants, 
white  shirt,  and  Scotch  cap.  A  landscape  may  form  the 
background  if  scenery  is  used.  Music,  "  Comin'  thru'  the 
Rye." 


THE   MOTHER'S  GRAVE. 

ONE   LADY,    TWO    YOUNG   GIRLS,    AND    A    BOY. 

A  PIECE  of  board  painted  white,  about  three  feet  in  length, 
should  be  placed  so  as  to  stand  upright  in  the  centre  of  the 
stage,  with  a  wreath  of  flowers  on  the  top  to  represent  a 
marble  slab.  A  girl  of  from  twelve  to  fourteen  years  of 
age  should  be  seated  on  a  small  bank  in  front  of  the  slab, 
toward  the  right. 

Her  hands  may  rest  upon  her  lap,  and  she  should  hold 
some  sprays  of  flowers.  Her  costume  should  be  a  dress  of 
some  plain  black  material,  white  cuffs  and  collar.  Her 
hair  should  be  allowed  to  fall  in  curls  over  her  shoulders, 


92  PARLOR   TABLEAUX. 

and  she  should  look  towards  the  left  with  a  mournful  expres- 
sion. A  girl  two  or  three  years  younger  stands  at  the  left 
of  the  slab,  leaning  against  it.  Her  eyes  should  be  closed, 
and  her  dress  should  be  the  same  as  the  other  girl's,  with  the 
addition  of  a  straw  hat.  A  boy  of  four  or  five  years  should 
be  seated  on  the  ground  between  the  two  girls.  A  basket 
of  flowers  should  be  placed  before  him,  and  his  face  slwuld 
be  toward  the  audience.  The  curtain  at  the  background 
should  be  parted,  revealing  a  lady  dressed  in  white,  with 
her  head  inclined  towards  the  children,  her  hands  extended 
over  them.  A  thick  blue  smoke  should  surround  her. 
Music,  some  sacred  hymn. 


LIGHT   AND   SHADOW. 

TWO   LADIES. 

THIS  tableau  should  be  represented  by  two  young  ladies 
of  handsome  appearance,  one  of  dark,  the  other  of  light 
complexion.  The  lady  of  dark  complexion,  representing 
Shadow,  should  be  rather  taller  than  her  companion. 
She  should  stand  a  little  to  the  right  of  the  centre  of  the 


LIGHT    AND    SHADOW.  93 

stage,  with  her  left  arm  around  the  waist  of  the  young  lady 
representing  Light ;  her  right  arm  hanging  naturally, 
and  concealed  by  drapery.  She  should  be  attired  in  flow- 
ing drapery  of  some  crimson  or  black  colored  material, 
displaying  her  neck,  and  trailing  to  the  ground.  Her  hair 
should  be  plainly  dressed,  with  a  simple  wreath  of  myrtle 
or  ivy-leaves.  Her  position  is  looking  toward  the  right, 
her  profile  being  turned  toward  the  audience.  The  young 
lady  personating  Light  should  stand  in  front  and  slightly 
to  the  left  of  Shadow.  She  should  be  dressed  in  a 
white  muslin  with  low  neck  and  short  sleeves,  over  which 
should  hang  a  drapery  of  some  bright-blue  material  in' folds, 
trailing  to  the  ground.  Her  hair  should  be  combed  back, 
and  allowed  to  fall  in  curls  over  her  shoulders  ;  and  on  the 
head  she  may  wear  a  net  of  pearl  beads.  Her  back  should 
be  toward  the  audience,  and  the  side  of  her  face,  as  she 
looks  towards  the  right  with  a  pleased  expression.  Her  left 
arm  passes  in  front  of  her  companion,  and  rests  on  her  left 
shoulder :  her  right  arm  also  passes  around  Shadow 
from  behind.  She  should  be  so  close  as  to  hide  from  the 
audience  about  one-third  of  the  form  of  Shadow.  A 
bright-blue  or  white  light  'should  be  thrown  upon  the  fore- 
most figure,  Light,  making  a  decided  shadow  on  the 


94  PARLOR    TABLEAUX. 

other  young  lady.  Clouds  of  smoke  may  be  produced  in 
the  background,  the  figures  being  as  far  in  the  foreground 
as  possible.  Music  soft. 


THE  HOME-GUARD. 

TWO    LADIES. 

And  in  such  sacred  cause 
We  court  no  vain  applause : 

Our  swords  are  free. 
No  spot  of  wrong  or  shame 
Rests  on  our  banner's  fame, 
Flung  forth  in  Freedom 'a  name 

O'er  mound  and  sea. 

Then  let  the  invader  come  ! 
Soon  will  the  l>eat  of  drum 

Rally  us  all. 

Forth  from  our  homes  we  go : 
Death,  death,  to  every  foe  ! 
Says  each  maiden  low. 

God  save  us  all ! 

THE  subject  of  this  tableau  is  from  one  of  the  well- 
known  statuettes  by  Rogers,  and  represents  a  lady  of  per- 
haps twenty-five  years  of  age,  and  her  younger  sister,  a 


THE    HOME-GUARD.  95 

girl  of  thirteen,  keeping  guard  on  the  outskirts  of  one  of  our 
Western  cities,  —  a  scene  quite  common  during  the  late  war. 
If  scenery  is  used,  the  back  of  the  scene  may  represent  a 
village  in  the  distance,  or  dark  woods  ;  although  no  particu- 
lar effect  is  gained  by  the  use  of  scenery  in  this  instance. 
The  lady  should  stand  at  the  right,  and  near  the  front  of 
the  stage  :  she  grasps  in  her  hands  a  long  pistol,  held  towards 
the  right,  in  readiness  to  fire.  She  should  be  quite  tall,  broad- 
shouldered,  and  with  a  bold,  determined  expression  on  her 
far<e,  as  she  looks  out  towards  the  right.  She  is  dressed  in  a 
short  dress  of  some  drab  or  brown  colored  material,  with  low 
neck,  and  sleeves  reaching  to  the  elbow,  and  a  cloak  thrown 
back  over  her  shoulders.  Her  hair  should  be  allowed  to  fall 
loosely  over  her  shoulders.  The  younger  lady  stands  at 
the  left  of  her  sister,  with  her  right  arm  around  her  waist, 
and  looking  towards  the  right  with  an  anxious  expression. 
She  wears  a  blue  dress,  short,  with  low  neck,  and  a  shawl 
partially  covering  her  head  and  shoulders.  A  red  light 
should  be  thrown  upon  the  figures  from  the  right,  and  the 
noise  of  arms  is  heard  outside.  Music,  some  martial  air, 
as  "  La  Marseillaise." 


96  PARLOR   TABLEAUX. 


THE   SCULPTOR'S   DREAM. 

ONE   GENTLEMAN   AND   THREE   LADIES. 

UNDER  this  title,  several  tableaux  have  been  presented, 
both  in  public  and  in  private  exhibitions.  The  one  here 
described  is  of  the  most  novel  and  pleasing  form. 

The  curtains  at  the  back  of  the  stage  should  be  drawn 
aside,  showing  the  three  female  characters,  who,  dressed  as 
statues,  occupy  that  portion  of  the  stage.  The  ladies  should 
be  of  straight  features,  and  rather  tall. 

The  taller  of  the  young  ladies  should  stand  in  the  centre 
of  the  stage,  at  the  back.  Upon  her  head  is  a  diadem, 
made  of  paper  to  represent  marble  ;  and  she  holds  in  her 
right  hand  a  scroll,  to  which  she  points  with  her  left.  She 
should  be  dressed  in  a  drapery  of  white,  showing  the 
arms  and  shoulders  ;  while  her  hair  should  be  powdered 
as  heavily  as  possible  with  white  chalk  or  puff-powder. 
She  should  stand  erect,  pointing  as  described,  and  looking 
towards  the  front  with  a  proud  expression. 

The  other  young  ladies  should  be  in  a  half-kneeling  posi- 
tion, on  either  side  of  the  central  figure,  each  with  one  hand 


THE  SCULPTOR'S  DREAM.  97 

extended,  grasping  together  an  imitation  goblet,  or  basket 
of  fruit  and  flowers,  which  they  hold  up  as  a  tribute  to  the 
more  prominent  figure. 

They  should  be  attired  in  a  similar  costume  to  the  one 
just  described,  except  that  the  hair  is  simply  combed  in 
the  Grecian  style,  with  a  coil  behind,  and  then  powdered. 
About  two-thirds  of  their  face  should  be  towards  the  audi- 
ence, and  turned  upwards  towards  the  central  figure,  with 
a  smiling  expression. 

In  the  foreground  of  the  picture,  at  the  front  of  the 
stage,  the  young  gentleman  who  personates  the  sculptor  is 
lying  stretched  upon  the  floor,  with  his  head  towards  the 
right,  his  face  turned  towards  the  audience,  and  his  eyes 
closed,  as  in  sleep.  His  right  arm  is  extended,  upon  the 
floor,  holding  a  chisel ;  while  his  left  lies  naturally  at  his 
side.  He  should  be  of  dark  complexion,  his  face  very  pale, 
and  should  wear  black  pantaloons,  wide  Byron  collar,  and 
a  blouse  of  green  or  brown  material  tied  with  a  cord 
around  the  waist.  A  bright  white  light  should  be  thrown 
upon  the  figures,  at  the  back,  leaving  the  sculptor  in  the 
shade.  Music  very  soft  and  slow. 
7 


98  PARLOR    TABLEAUX. 


THE   SAILOR-BOY'S   DREAM. 

TWO  GENTLEMEN,  A  BOY,  AND  ONE  LADY. 

THIS  tableau  is  very  readily  produced,  requiring  but  few 
stage  accessories.  In  the  foreground  of  the  picture,  to  the 
right,  the  two  principal  characters,  a  man  of  twenty-five 
or  thirty  years  of  *ge  and  a  boy  of  twelve  or  fourteen, 
have  their  place.  The  man  should  be  dressed  in  a  blue 
sailor's  shirt,  with  white  pants,  and  without  shoes.  His 
right  hand  he  holds  to  his  forehead,  as  if  looking  out 
towards  the  ocean  with  an  earnest  expression.  His  face 
is  turned  towards  the  left,  so  that  scarcely  half  of  his  face 
is  visible  to  the  audience.  He  should  be  seated  on  the 
ground,  with  his  left  leg  extended,  his  right  bent  at  the 
knee  ;  while  his  right  hand  is  extended  toward  the  boy's 
face,  as  if  commanding  silence. 

The  boy  should  be  lying  upon  the  ground,  on  his  right 
side,  his  head  resting  on  a  small,  green  bank,  while  his 
eyes  are  closed  as  in  sleep.  He  should  wear  a  white  shirt, 
black  neck-tie,  aiid  blue  trousers.  His  shirt  is  open  at  the 


99 

neck,  and  one  of  his  shirt-sleeves  unbuttoned  at  the  wrist, 
as  his  right  arm  lies  carelessly  by  his  side.  His  left  hand 
rests  on  his  left  hip,  and  his  left  leg  is  crossed  over  the 
right.  He  should  be  of  light  complexion. 

The  curtain  at  the  background  should  be  drawn  aside, 
showing  the  figures  of  a  boy  and  his  mother.  The  boy 
should  be  dressed  as  is  the  one  just  mentioned,  with  the 
addition  of  a  jacket  and  cap. 

The  mother  is  dressed  in  a  plain,  drab-colored  material, 
with  white-lace  cap.  She  clasps  the  boy  round  the  neck, 
and,  leaning  forward,  is  about  kissing  him  on  the  cheek. 
The  boy's  arms  are  passed  around  the  mother's  neck,  as  he 
stands  close  to  her.  These  figures  should  stand  upon  a 
table  covered,  the  ends  being  masked  by  the  curtain  at  the 
back.  A  piece  of  gauze  may  be  stretched  across  the  stage, 
if  practicable  ;  or.  a  piece  of  scenery,  in  imitation  of  water, 
between  the  two  groups.  A  clear  blue  or  white  light 
should  be  thrown  upon  the  figures  in  the  background. 
Music  low. 


100  PARLOR   TABLEAUX. 


THE  REFUGEE. 

TWO  GENTLEMEN  AND  ONE  LADY. 

Hard  by  the  porch  of  the  village  church 
Halts  a  while  a  dusty  traveller  to  rest. 
His  head  droops  tired  upon  his  breast ; 
But  the  word  of  prayer  wfkcs  new  life  there. 

God  bless  thee,  brave,  who  go  to  save 
Our  country  in  her  dark,  dread  hour  of  danger ! 
The  good  man's  voice  was  comfort  to  the  stranger : 
Duty  wipes  away  a  tear  as  he  hurries  to  the  war. 

REBELLION  RECORD. 

THE  scene  of  this  tableau  is  laid  in  the  wilds  of  Tennes- 
see during  the  late  war,  and  represents  a  Union  soldier, 
who,  returning  on  a  short  furlough  from  the  army,  finds  his 
home  desolated  by  the  foe,  and  is  forced,  amid  great  hard- 
ships, to  remove  his  wife  and  child  to  a  place  of  safety. 
The  soldier  should  be  represented  by  a  young  man  of  about 
thirty  years  of  age. 

He  stands  at  the  right  of  the  centre  of  the  stage,  his  gun 
over  his  right  shoulder,  his  left  arm  around  his  wife,  who 


THE   REFUGEE.  101 

stands  beside  him,  and  looking  out,  with  his  face  turned 
slightly  towards  the  right,  with  a  stern,  troubled  expres- 
sion. He  is  dressed  in  blue  pants  thrust  into  his  boots, 
short  fatigue-jacket  thrown  open,  military  cloak  thrown 
carelessly  over  his  shoulders  and  tied  round  his  neck,  belt, 
cartridge-box,  and  felt-hat  with  brim  turned  up.  His  feet 
are  placed  as  if  advancing  forward. 

The  wife  stands  at  the  left  of  the  soldier,  her  right  arm 
on  his  left  shoulder,  with  her  head  bent  down,  and  leaning 
upon  his  arm.  Her  right  hand  is  held  by  her  boy  beside 
her. 

She  should  be  dressed  in  a  dark-blue  skirt,  quite  short, 
drab-colored  waist  with  high  neck,  and  sleeves  reaching  to 
the  elbow,  and  a  shawl  partially  covering  her  head,  and 
hanging  over  her  shoulders.  She  stands  very  close  to  the 
soldier,  and  her  eyes  are  closed  as  she  leans  against  him. 
A  boy  of  eight  or  nine  years  of  age  completes  the  group. 
He  is  dressed  in  an  ordinary  jacket,  open,  and  short  trou- 
sers. He  holds  fast  to  his  mother's  hand,  and  stands  close 
to  her,  looking  earnestly  at  his  father.  The  mother  should 
be  very  pale,  with  a  careworn  expression  of  countenance. 
The  tableau  should  not  be  very  brightly  lighted.  Music, 
some  martial  air. 


102  PAKLOK    TABLEAUX. 

THE   SOLDIER   FROM   THE  HUDSON. 

TWO  GENTLEMEN  AND  ONE  LADY. 

A  soldier  of  our  army  lay  dying  at  Bull  Run  : 

Oh,  the  feast  of  death  was  dreadful  'neath  that  hot  and  burning  sun ! 

No  mother's  fond  devotion,  and  no  sister's  earnest  care, 

Betokened  that  a  mother's  or  a  sister's  hand  was  there ; 

But  a  comrade  knelt  beside  him,  with  his  bended  head  full  low, — 

'Tis  ever  thus  the  bravest  will  feel  compassion  flow,  — 

And  he  listened  to  the  murmur  as  the  blood  gushed  from  his  side  : 

"My  home  is  by  the  Hudson,  —  the  Hudson's  swelling  tide. 

"  Tell  my  father,  when  you  see  him  with  sad  and  tearful  eye, 

That  I  died  the  death  he  prayed  for  me,  —  the  death  I  longed  to  die : 

With  my  gaze  upon  the  standard,  my  weapon  to  the  foe, 

And  a  wild  huzza  of  ecstasy,  I  met  the  welcome  blow. 

Oh,  mitigate  his  sorrow  !     It  will  give  his  anguish  rest 

To  know  my  foe's  endeavor  fell  squarely  on  my  breast. 

Where  else  could  traitors  strike  me?    For  I  was  nursed  l>eside 

The  memories  of  Hudson,  —  of  Hudson's  storied  tide. 

"  And  one  is  there,  —  a  maiden  :  God  bless  her  trusting  heart ! 

'Tis  bitter  thus  to  leave  her;  'tis  bitter  thus  to  part. 

Long,  long  ago  we  plighted  our  troth  forevermore 

In  those  early  days  of  sunshine,  in  those  happy  days  of  yore. 

With  my  sword  from  out  its  scabbard  cut  this  lock  above  my  brow 

As  a  token  to  my  loved  one  :  'tis  all  that's  left  her  now ! 

God  save  her  darling  image !  I  can  see  it  still  beside 

The  waters  of  the  Hudson,  —  the  Hudson's  glassy  tide  !  " 

G. 


THE    SOLDIER   FROM   THE    HUDSON.  103 

THE  scene  given  under  the  accompanying  title  is  both 
patriotic  and  domestic,  and  represents  a  Union  soldier,  who 
has  been  wounded  in  one  of  the  earlier  battles  of  the  war, 
lying  in  a  dying  condition  upon  the  battle-field,  attended  by 
a  devoted  comrade,  who  tenderly  supports  him  as  he  listens 
to  his  last  messages  to  his  loved  ones  at  home. 

The  wounded  soldier  lies  near  the  front  of  the  stage,  at  the 
right,  his  lower  limbs  stretched  upon  the  floor,  the  upper 
portion  of  his  body  raised  and  supported  by  his  companion. 
The  right  side  of  his  face  is  towards  the  audience ;  and  he 
looks  towards  the  left  with  a  smile  upon  his  face,  which  is 
made  up  very  pale,  with  a  mark  of  a  wound  upon  the  fore- 
head. His  hands  are  clasped,  and  extended  towards  the 
lady  at  the  left  corner  of  the  stage,  back  ;  and  he  wears  light- 
blue  army-trousers,  officer's  coat,  open  in  front,  showing  the 
breast.  His  companion  kneels  behind  him  on  his  right 
knee,  his  arms  around  the  wounded  man,  holding  him 
closely ;  while  he  looks  down  towards  his  face  with  a  sad, 
earnest  expression.  He  wears  light-blue  army-trousers 
fatigue-jacket,  and  cap  ;  while  his  rifle  lies  upon  the  floor  of 
the  stage,  at  his  side.  The  curtain  upon  the  left  of  the 
stage,  at  the  back,  should  be  drawn  aside,  showing  a  small 
supplementary  stage  two  or  three  feet  in  height,  furnished 


104  PARLOR   TABLEAUX. 

with  table  and  chairs,  to  represent  an  interior,  the  boxes 
forming  the  stage  being  covered  with  green,  or  some  dark 
material.  The  table  and  chairs  are  placed  near  the  ex- 
treme left  of  this  stage  ;  and  in  the  chair  at  the  right  of  the 
table  a  young  lady  is  seated,  with  her  chin  leaning  upon  her 
left  hand,  her  right  lying  in  her  lap,  holding  a  letter  opened, 
which  she  is  reading  with  a  smile  upon  her  face,  which  is 
turned  towards  the  front,  so  as  to  present  about  a  two-thirds 
view  to  the  audience.  She  should,  if  possible,  be  of  light 
complexion,  her  hair  hanging  in  long  curls  behind.  She 
wears  a  dress  of  white  muslin  trimmed  with  blue,  or  a 
plain  blue  dress,  with  white-linen  collar  and  cuffs.  A  cur- 
tain of  black  gauze  may  be  intervened  between  the  lady  and 
the  group  at  the  front ;  or  she  may  be  surrounded  with  a 
white  smoke,  made  by  burning  a  strip  of  magnesium  near 
her.  Flashes  of  red  light  should  be  thrown  on  the  group  in 
the  foreground,  and  the  music,  the  "  Prayer  from  Der 
Freitschutz,"  or  some  similar  piece,  played  very  softly. 


ON  THE  SHORES  OF  TENNESSEE.          105 


ON   THE   SHORES   OF  TENNESSEE. 

THREE   GENTLEMEN. 

"  Move  my  arm-chair,  faithful  Pompey, 
In  the  sunshine  bright  and  strong : 
For  this  world  is  fading,  Pompey  ; 
'  Massa '  won't  be  with  you  long. 
And  I  fain  would  hear  the  south  wind 
Bring  once  more  the  sound  to  me 
Of  the  wavelets  softly  breaking 
On  the  shores  of  Tennessee. 

Mournful  though  the  ripples  murmur 
As  they  still  the  story  tell,  — 
How  no  vessels  float  the  banner 
That  I've  loved  so  long  and  well, — 
I  shall  listen  to  their  music, 
Dreaming  that  again  I  see 
Stars  and  stripes  on  sloop  and  shallop 
Sailing  up  the  Tennessee." 

Still  the  south  wind  fondly  lingers 
'Mid  the  veteran's  silver  hair ; 
Still  the  bondman,  close  beside  him, 
Stands  behind  the  old  arm-chair : 
With  his  dark-hued  hand  uplifted, 
Shading  eyes,  he  bends  to  see 
Where  fie  woodland,  boldly  jutting, 
Turns  aside  the  Tennessee. 


106  PARLOR   TABLEAUX. 

Thus  he  watches  cloud-born  shadows 
Glide  from  tree  to  mountain- crest, 
Softly  creeping  aye  and  ever 
To  the  river's  yielding  breast. 
Ha !  above  the  foliage  yonder, 
Something  flutters  wild  and  free : 
"  Massa,  massa,  hallelujah  ! 
The  flag's  come  back  to  Tennessee  !  " 

"  Pompey,  hold  me  on  your  shoulder, 
Help  me  stand  on  foot  once  more, 
That  I  may  salute  the  colors 
As  they  pass  my  cabin-door. 

Here's  the  paper  signed  that  frees  you  ; 
Give  a  freeman's  shout  with  me  : 
'  God  and  Union  '  be  our  watchword 
Evermore  in  Tennessee !  " 

ETHEL  L.  BEERS. 


THE  celebrated  poem  by  Miss  Beers  furnishes  the  sub- 
ject for  this  very  fiue  patriotic  tableau  under  the  above 
title.  The  State  of  Tennessee  was,  during  the  late  war, 
held  for  some  time  by  the  Southerners,  although  many  of 
the  inhabitants  still  remained  loyal.  The  tableau  represents 
an  aged  citizen  of  the  State,  —  a  Union  man,  —  who  has  for 
many  months  writhed  under  the  Southern  rule,  hourly  wait- 
ing for  the  Northern  troops  to  arrive,  and  restore  law  and 


ON  THE  SHORES  OF  TENNESSEE.          107 

order  to  the  State  ;  and  his  servant,  a  faithful  old  negro, 
who,  with  watchful  care,  supports  his  master  in  his  feeble- 
ness. About  three  feet  from  the  background,  a  strip  of  light- 
blue  cambric,  canvas  or  paper  painted  blue,  should  be 
stretched  across  the  stage,  to  represent  water.  At  the  left- 
hand  corner  of  the  stage, .behind  this  strip,  a  boat,  or  imita- 
tion-boat made  of  thick,  painted  pasteboard  bent  in  the  form 
of  a  boat,  or  tacked  on  a  light  wooden  frame,  is  placed,  with 
the  bow  towards  the  right.  A  young  man  is  discovered 
standing  in  the  boat,  with  his  right  foot  resting  upon  the 
forward  end,  as  if  advancing,  his  right  hand  grasping  a 
large  American  flag ;  while  he  points,  with  left  fore-finger 
extended,  to  the  flag.  His  face  is  turned  towards  the  front, 
with  an  expression  of  triumph  on  his  countenance  as  he 
looks  forward.  He  wears  a  United-States  officer's  uniform 
of  dark-blue  cloth,  and  fatigue-cap.  The  old  man  stands  to 
the  right  of  the  centre  of  the  stage,  with  his  left  arm  lean- 
ing on  the  negro's  shoulder,  his  right  raised  above  his  head, 
as  if  giving  a  shout.  The  side  of  his  face  is  towards  the 
audience ;  and  he  looks  at  the  officer  at  the  back  with  a 
pleased  expression,  his  mouth  partly  open.  He  wears  a 
brown  coat,  nankeen  trousers,  and  white  wig ;  his  face 
made  up  with  marks  of  age.  The  negro  stands  beside 


108  PARLOR   TABLEAUX. 

the  old  man,  at  his  left,  his  right  arm  around  the  old  man, 
supporting  him,  and  his  left  raised  above  his  head,  as  if 
giving  a  shout.  His  face  is  turned  towards  the  officer  ;  and 
his  mouth  should  be  open,  as  if  shouting. 

He  wears  a  striped-cotton  shirt  and  trousers ;  and  his 
face,  arms,  and  hands  should  be  well  blacked  with  burnt 
cork.  Red,  white,  and  blue  lights  may  be  thrown  alter- 
nately upon  the  figures,  or  a  steady  red  light  may  be  used. 
Music,  the  "  Star-spangled  Banner,"  played  quite  loud. 


PAST   AND   FUTURE. 

TWO     LADIES. 

Sighing  as  through  the  shadowy  past, 
Like  a  tomb-searcher,  memory  rare, 
Lifting  each  shroud  that  time  had  cast 
O'er  buried  hopes. 


MOORE. 


Hope,  the  brightest  of  the  passionate  choir 
That  through  the  wide  world  range, 
And  touch  with  passing  fingers  that  most  strange 
And  curious  instrument,  the  human  heart. 

SHELLEY. 


PAST    AND    FUTURE.  109 

THIS  tableau  should  be  represented  by  a  young  lady  and 
by  an  older  lady  ;  a  difference  of  ten  years  or  more  being 
apparent  in.  their  appearance.  The  older  lady  should  be 
seated  to  the  right  of  the  centre  of  the  stage,  with  her  left 
hand  lying  upon  her  knee,  and  her  right  around  the  neck 
of  her  companion.  The  side  of  her  face  should  be  turned 
towards  the  audience,  as  she  looks  to  the  right  with  her  eyes 
cast  down  towards  the  ground.  She  should  wear  a  dark 
skirt,  with  a  loose  waist  of  gray-colored  material  with 
flowing  drapery-sleeves,  and  undersleeves.  She  should  also 
wear,  depending  from  the  shoulders,  a  full  black  drapery, 
lying  in  folds  across  the  knees,  as  she  is  seated.  Her  hair 
is  combed  very  plainly  around  her  face,  and  she  wears  a 
plain  white  veil  of  thin  muslin  upon  her  head. 

Her  face  has  a  very  sad  expression,  as  she  looks  down- 
ward. The  young  lady  representing  Future  should  be  of 
light  complexion  and  good  features.  She  is  seated  a  little  to 
the  right  of  the  other  lady,  on  a  lower  seat,  and  in  front  of 
her.  Her  right  elbow  should  be  placed  on  the  knee  of  her 
companion,  while  she  supports  her  cheek  upon  her  right 
hand.  Her  left  arm  rests  upon  her  lap,  and  she  looks  up- 
wards, with  her  face  turned  slightly  towards  the  right,  with 
a  smiling,  hopeful  expression. 


110  PARLOR    TABLEAUX. 

She  should  wear  a  plain  white  dress  with  low  neck  and 
drapery-sleeves,  high  blue  bodice,  and  a  drapery  of  blue 
covering  her  skirt. 

Her  hair  is  tastily  dressed,  with  a  braid  of  natural  hair 
on  the  front  of  her  head.  A  bright  white  light  should  be 
thrown  upon  the  younger  lady,  leaving  her  companion 
heavily  shaded. 

The  music  should  be  slow  and  solemn  at  first,  then 
change  to  a  lively  waltz. 


HOPE   AND   FAITH. 

TWO   LADIES. 

Her  precious  pearl,  in  Sorrow's  cup, 

Unmelted  at  the  bottom  lay, 
To  shine  again,  when,  all  drank  up, 

The  bitterness  shall  pass  away. 

MOORE. 

Oh,  happy  that  I  am  !    If  thou  canst  be,  O  Faith  ! 
The  treasure  that  thou  art  in  life, 
What  wilt  thou  be  in  death  ? 

THIS  is  a  similar  tableau  in  style  to  the  one  of  Past 
and  Future,  and  forms  a  suitable  companion.     The  young 


HOPE    AND    FAITH.  Ill 

lady  who  represents  Hope  should  be  seated  at  the  right 
of  the  stage,  her  face  turned  towards  the  left,  so  that  the 
side  of  her. face  only  is  towards  the  audience.  Her  hands 
are  holding  a  book  which  is  lying  in  her  companion's  lap  ; 
and  she  leans  forward,  looking  upward  toward  her  with  a 
pleased,  hopeful  expression.  She  is  dressed  in  a  robe  of 
white,  gathered  loosely  at  the  neck,  with  wide  drapery- 
sleeves,  and  a  drapery  of  white  or  blue  hanging  from  the 
shoulders,  and  falling  over  her  skirt.  Her  hair  should  be 
combed  in  a  coil  behind,  with  braids  at  the  side  ;  and  she 
should  be  of  light  complexion. 

Faith  should  be  represented  by  a  lady  ten  or  fifteen 
years  older  than  the  younger  lady.  She  should  be  seated 
beside  her  companion,  with  her  hands  elapsed  and  lying 
upon  the  younger  lady's  armr  which  is  on  her  lap  ;  a  Bible, 
opened,  also  lying  there. 

Her  face  is  turned  slightly  towards  the  left,  and  she  looks 
upwards  with  an  earnest,  prayerful  expression.  She  should 
wear  a  dark  skirt,  a  drab-colored  waist  with  high  neck 
and  drapery-sleeves,  and  a  black  drapery  hanging  from 
the  shoulders.  Her  hair  should  be  combed  back  plainly, 
and  partially  covered  by  a  long  white-muslin  veil,  which 
reaches  nearly  to  her  waist. 


112  PARLOR   TABLEAUX. 

The  seat  on  which  the  ladies  are  placed  may  consist  of 
a  long  box  covered  with  dark  cloth  or  carnbric.  A  bright 
white  light  should  be  thrown  upon  the  younger  lady,  the 
other  figure  being  heavily  shaded.  The  music  should 
change  from  quite  lively  to  very  grave. 


AWAKENED   SORROWS. 

TWO    LADIES. 

My  soul  is  dark.     Oh  !  quickly  string 

The  harp  I  yet  can  brook  to  hear, 
And  let  thy  gentle  lingers  fling 

Its  niching  murmurs  o'er  my  ear. 

If  in  this  heart  a  hope  he  dear, 

That  sound  shall  charm  it  forth  again  ; 

If  in  these  eyes  there  lurk  a  tear, 

'Twill  flow,  and  cease  to  burn  my  brain. 

But  bid  the  strain  be  wild  and  deep, 

Nor  let  thy  notes  of  joy  be  first : 
I  tell  thee,  minstrel,  I  must  weep, 

Or  else  this  heavy  heart  will  burst. 

For  it  hath  been  by  sorrow  nurst, 

And  ached  in  sleepless  silence  long; 
And  now  'tis  doomed  to  know  the  worst, 

And  break  at  once,  or  yield  to  song. 

BYRO\. 


AWAKENED    SORROWS.  113 

THE  characters  in  this  tableau  should  be  represented 
by  ladies  of  similar  age  to  those  personating  Past  and 
Future.  A  cushioned  seat  is  placed  in  the  centre  of  the 
stage,  upon  which  the  elder  lady  is  seated  :  her  left  arm  is 
upon  her  knee,  her  right  around  the  neck  of  the  young 
lady ;  her  head  is  ^lightly  inclined  towards  the  left,  and  she 
looks  down  towards  the  audience  with  a  sad  expression. 
She  should  be  of  dark  complexion,  with  straight  features. 

0 

Her  costume  is  a  robe  of  white,  or  light  drab-colored 
material,  with  high  neck  and  long  sleeves,  a  drapery  of 
black  falling  from  her  left  shoulder  over  her  knees,  and  a 
veil  of  white  muslin  or  lawn  partially  covering  her  hair, 
and  falling  over  her  shoulders.  The  younger  lady  kneels 
at  the  right  of  her  companion,  her  hands  clasped,  and 
raised  to  her  right  shoulder  ;  her  face  turned  towards  the 
left,  and  looking  upward  to  the  other's  face  with  an  earnest 
expression.  She  should  be  of  light  complexion.  Her  cos- 
tume is  a  dress  of  light-blue  material,  with  high  neck,  and 
sleeves  reaching  to  the  elbow  ;  and  short  muslin  under- 
sleeves.  Her  hair  is  combed  back  in  curls  behind,  and 
she  wears  a  braid  of  natural  hair  upon  her  head. 

The  light  should  be  thrown  from  the   right,  shading  the 
older  lady.     Music  soft  and  slow. 
8 


114  PARLOR   TABLEAUX. 


THE   PICKET-GUARD. 

THREE    GENTLEMEN. 

A  dreary  night !     Nor  moon  nor  star 
Scarce  yields  one  ray  to  cheer  the  gloom. 

Away  from  camp  and  comrade  far 
The  picket,  where  may  be  his  tomb. 

Against  his  sturdy  tree  close  pressed, 

The  picket's  dripping  form  is  leant ; 
And,  though  no  shelter,  it  is  rest. 

Thank  Heaven,  the  tempest's  wrath  is  spent ! 

It  comes  at  last.     O  beam  of  hope  ! 

Thank  God,  that  doth  the  day  restore : 
The  sun  mounts  up  the  eastern  slope  ; 

And  comrades,  camp,  are  gained  once  more. 

REBELLION  RECORD. 

THIS  tableau  represents  a  picket-guard  of  three  Union 
soldiers  in  advance  of  the  forces,  to  apprise  them  of  any 
danger  which  may  be  apparent. 

One  of  the  number  stands  in  the  centre  of  the  stage,  his 
left  hand  grasping  his  sword  at  the  hilt ;  while  his  right 
hand  is  extended  towards  the  soldier  who  is  at  his  right  with 


THE   PICKET-GUARD.  115 

a  gesture,  as  if  commanding  silence.  His  head  is  inclined 
forward  ;  and  he  looks  out  with  an  anxious  expression,  as  if 
he  heard  some  sound. 

He  is  dressed  in  a  captain's  uniform,  with  fatigue-cap. 
One  of  the  soldiers  should  stand  at  the  right  hand,  and  a 
little  farther  back  than  the  captain.  His  head  is  bent  for- 
ward, as  if  listening,  looking  in  the  same  direction  as  the 
captain.  He  grasps  his  gun,  as  if  about  to  advance  in  the 
position  of  charge  bayonets. 

The  other  soldier  stands  in  the  same  relative  position,  on 
the  left.  His  head  is  bent  forward  ;  and  his  left  hand  raised 
over  his  eyes,  as  if  endeavoring  to  perceive  some  object :  his 
right  hand  grasps  his  bayonet,  which  hangs  at  his  side. 
The  soldier  should  be  dressed,  if  possible,  in  the  Zouave 
uniform,  with  red  skull-cap  with  tassel,  and  leggins  ;  al- 
though, if  these  cannot  be  procured,  the  usual  uniform  of 
the  Union  soldiers,  with  knapsack,  will  answer. 

A  bright  light  should  be  thrown  upon  the  figures  from 
the  right.  Music  alternately  soft  and  loud. 


116  PARLOR   TABLEAUX. 


THE  PARDON  REFUSED. 

ONE  GENTLEMAN  AND  ONE  LADY. 

Oh  !  tell  me  at  once  that  you  love  me  no  more  ; 
Oh  !  say  you  are  weary,  and  hope  will  be  o'er : 
But  let  me  not  fruitlessly  waste  my  soul's  life 
Between  doubt  and  despair  in  this  passionate  strife. 

It  is  time,  Heaven  knows,  that  I  turn  from  my  dream ; 
'Tis  folly,  'tis  madness,  though  sweet  it  may  seem  : 
And,  if  once  from  your  lips  your  estrangement  I  know, 
I've  a  pride  still  at  heart  that  would  rise  at  the  blow. 

By  all  the  true  tenderness  banished  so  long 
On  thy  bosom,  O  soul  of  my  thought  and  my  song ! 
By  all  the  wild  worship  poured  forth  at  thy  feet, 
Oh  !  soothe  me  no  more  with  this  fatal  deceit. 

Now  are  gone,  gone  forever,  the  joy  and  the  bloom  : 
They  are  fled  like  the  withered  flower's  blush  and  perfume. 
If  your  love  has  gone  with  them,  oh  !  list  to  my  prayer  : 
Let  me  rest,  though  it  be  in  the  calm  of  despair. 

F.  S.  OSGOOD. 

THESE  lines  and  the  tableau  illustrate  a  domestic  scene, 
doubtless  very  common  to  the  majority  of  young  ladies  and 
gentlemen  who  have  arrived  at  years  of  discretion ;  and  for 


THE    PARDON    REFUSED.  117 

that  reason  will  probably  be  appreciated  more  particularly  by 
them  than  by  any  other  class  of  our  readers.  The  scene 
represents  a  young  man  of  from  twenty  to  twenty-five  years 
of  age,  who  is  supposed  in  some  way  to  have  offended  the  lady 
of  his  choice,  and  who  is  in  the  act  of  endeavoring  to  remove 
her  coldness  towards  him,  humbly  suing  for  pardon. 

He  kneels  at  the  left  of  the  centre  of  the  stage,  upon  his 
left  knee,  his  left  hand  clasping  hers,  which  she  is  endeav- 
oring to  withdraw,  his  right  hand  resting  upon  her  waist, 
while  he  looks  upward  towards  her  with  an  appealing 
expression.  The  lady  stands  to  the  right  of  the  young  man, 
her  left  hand  resting  in  his,  her  right  extended  with  a 
gesture  of  refusal,  her  head  turned  from  him,  and  looking 
toward  the  right,  with  an  offended  expression  upon  her 
face.  She  wears  an  elegant  dress  of  white  silk,  or  some 
appropriate  evening-dress,  with  low  neck  and  short  sleeves. 
Her  hair  is  tastily  dressed,  with  a  band  of  gold  or  a  wreath 
of  flowers  upon  her  head.  Music  should  be  some  lively 
waltz. 


118  PARLOR   TABLEAUX. 


THE  RECONCILIATION. 

ONE  GENTLEMAN  AND  ONE  LADY. 

Come  with  that  true  heart,  all  petty  doubts  scorning ; 

Come  with  that  smile  which  is  day  to  my  night ; 
Come  with  those  blushes  which  mock  a  May-morning,  — 

Dear  truant  tell-tales  of  love  and  delight. 

Come  with  that  step,  like  a  flower-sylph's  in  fleetness  ; 

Come  with  those  tresses  that  gleam  as  they  flow ; 
Come  with  that  lute-tone's  ineffable  sweetness ; 

Breathe  to  my  bosom  its  melody  low. 

Gem  of  a  life  that  were  joyless  without  thee ; 

Rose  in  Hope's  wilderness,  bird  in  Love's  bower ; 
Balm,  light,  and  melody  floating  about  thee : 

Which  art  thou,  darling  !  —  bird,  jewel,  or  flower  ? 

F.  S.  OSGOOD. 

THIS  is  a  companion-piece  to  the  tableau  of  "The  Pardon 
Refused,"  and  introduces  the  same  characters.  The  inter- 
view is  supposed  to  have  taken  place  some  time  after  the  one 
previously  described  ;  and,  at  the  time  of  the  incident  given 
here,  the  young  man  is  exhibited  as  but  partially  recovered 
from  the  wound  his  feelings  have  received  at  the  hands  of 


THE   RECONCILIATION.  119 

the  lady,  and  is,  in  his  turn,  offended  when  she  desires  to 
recall  her  past  coldness. 

The  young  gentleman  stands  at  the  left  of  the  stage,  near 
the  centre :  his  right  arm  rests  upon  the  lady's  waist ;  his 
left  hand  is  at  his  side,  in  a  position  as  if  withdrawing  from 
the  lady's  grasp  ;  his  face  looking  down  towards  her  with  a 
reproachful  expression.  He  wears  a  black  dress-frock, 
white  vest,  and  black  pantaloons.  The  lady  stands  in  the 
centre  of  the  stage,  her  face  close  to  the  young  man,  and 
looking  up  towards  him  with  an  appealing,  tender  expres- 
sion upon  her  face.  Her  left  hand  is  upon  his  shoulder, 
her  right  upon  his  breast ;  the  right  side  of  her  face  being 
towards  the  audience.  She  wears  an  evening-dress  of  white, 
blue,  or  purple,  with  low  neck  and  short  sleeves,  and  a 
coronet  of  pearl  beads  or  a  gold  band  around  her  head. 
The  room  is  furnished  as  a  handsome  parlor,  with  small 
table  with  flowers  upon  the  left,  chair  or  screen  upon  the 
right,  and  sofa  at  the  back,  of  the  stage.  Music  should  be 
of  a  lively  character. 


120  PARLOR   TABLEAUX. 


MAY  AND  DECEMBER. 

ONE  GENTLEMAN  AND  ONE  LADY. 

THIS  tableau  represents  a  domestic  scene  of  real  life ;  one 
of  those  of  which  we  frequently  hear,  but  seldom  witness. 
The  scene  is  a  drawing-room  ;  and  the  stage  should  be  fur- 
nished with  a  sofa,  or  tete-a-tete,  placed  in  the  centre,  a 
table  upon  the  left,  an  arm-chair  upon  the  right,  pictures, 
and  so  forth.  As  the  curtain  rises,  an  old  gentleman  rep- 
resented as  about  sixty  is  discovered  seated  by  a  young 
lady  upon  the  sofa,  holding  her  left  hand  to  his  lips  ;  while 
he  bends  forward,  and  looks  up  towards  her  face  with  a 
complacent  expression.  He  wears  a  white  wig  with  bald 
front,  blue  coat  with  brass  buttons,  buff  vest  and  trousers, 
with  ruffled  shirk-bosom. 

The  young  lady  is  seated  upon  the  right  of  the  old  gentle- 
man, her  left  hand  in  his  ;  while  the  fore-finger  of  her  right 
is  raised  to  her  lips,  and  she  looks  out  towards  the  audience 
with  an  amused  expression.  She  should  wear  a  handsome 
silk  evening-dress,  or  a  white  muslin,  with  blue  sash,  and 
her  hair  tastily  dressed.  The  stage  should  be  well  lighted, 
and  the  music  lively. 


THE    VILLAGE    POST-OFFICE.  121 


THE  VILLAGE   POST-OFFICE. 

ONE   GENTLEMAN   AND   A   LADY. 

THIS  scene  is  probably  familiar  to  any  one  who  has  ever 
travelled  through  some  country  village  remote  from  any 
great  centre  of  civilization.  The  locality  is  a  shoemaker's 
shop  ;  and  a  low  bench  should  be  placed  in  the  centre  of  the 
stage,  near  the  front.  Upon  it  is  a  hammer,  round  stone, 
shoes,  and  other  small  tools.  The  postmaster  and  shoe- 
maker stands  on  the  left  of  this  bench,  holding  a  large  mail- 
bag  in  his  right  hand ;  while  in  his  left  is  a  letter,  which  he 
looks  at  steadily,  as  if  endeavoring  to  read  the  direction. 
His  head  is  bald,  and  he  wears  a  large  pair  of  spectacles  : 
his  dress  is  a  white  or  striped  shirt,  with  sleeves  rolled  up  ; 
brown  vest  and  trousers,  and  long  apron.  A  lady  stands 
on  the  right  of  the  bench,  watching  the  shoemaker  expect- 
antly, her  left  hand  holding  a  letter  to  her  lip,  and  her  right 
opened,  and  extended  towards  him.  She  wears  a  gray  or 
black  dress,  light  shawl,  and  bonnet.  Music  lively. 


122  PARLOR   TABLEAUX. 

THE  BUSHWHACKER. 

A    GENTLEMAN,    A    BOY,    AND    A    LADY. 

THIS  is  a  companion-picture  to  "  The  Union  Refugee," 
and,  in  contrast  to  that,  represents  one  of  the  other  side 
about  to  leave  his  wife  and  child,  to  whom  he  had  returned 
for  a  short  time,  and  again  enter  into  those  nefarious  ex- 
ploits in  which  this  class  of  men  engaged.  The  bush- 
whacker should  be  represented  as  about  thirty  years  of  age, 
with  long,  full  brown  beard  and  mustache.  He  stands  at 
the  left  of  the  stage,  his  right  arm  holding  up  his  little  boy 
close  to  him,  his  left  holding  his  gun,  the  butt  of  which  rests 
upon  the  ground,  while  the  barrel  is  inclined  towards  the 
right.  His  head  is  bent  over  towards  the  right  upon  his 
shoulder,  and  his  eyes  closed,  as  if  endeavoring  to  pay  no 
attention  to  the  remonstrances  of  his  wife,  who  stands  be- 
side him.  He  wears  a  flannel  shirt  with  sleeves  hanging, 
leaving  the  arms  bare  to  the  elbows ;  gray  vest,  open  in 
front,  showing  his  breast ;  gray  pants  tucked  into  his  boots  ; 
high  boots,  with  the  hasp  of  a  large  knife  protruding  from 
one  leg,  and  the  butt  of  a  pistol  or  revolver  from  the  other. 


THE  FISHERMAN'S  RETURN.  123 

His  hair  presents  a  rough  and  uncombed  appearance.  The 
lady  personating  the  wife  of  the  bushwhacker  stands  at  his 
right  side,  with  her  left  arm  around  his  neck,  and  resting 
upon  his  left  shoulder  ;  her  right  grasping  the  gun  above  the 
point  where  he  holds  it,  as  if  endeavoring  to  restrain  him 
from  taking  it.  Her  faced  is  turned  up  towards  his  with  a 
pained,  entreating  expression.  She  wears  a  short  gray  dress, 
large  woollen  shawl,  and  small  handkerchief  around  her 
neck  :  her  hair  is  allowed  to  fall  loosely  upon  her  shoulders. 
The  child  should  be  a  boy  from  three  to  five  years  of  age. 
He  is  supported  upon  his  father's  arm,  and  rests  his  head 
upon  his  father's  right  shoulder,  his  hands  stroking  his 
beard,  while  he  looks  upwards  at  the  outlaw's  face  with  a 
smile.  He  wears  an  ordinary  frock,  stockings,  and  shoes. 
The  music  should  be  alternately  loud  and  soft ;  and  the  light 
should  be  red,  thrown  on  in  occasional  flashes. 

THE   FISHERMAN'S   RETURN. 

A   GENTLEMAN,    A    LADY,    AND   TWO    OR   THREE   CHILDREN. 

Who,  far  from  children,  home,  and  wife, 
With  ocean  holds  a  constant  strife  ? 
Toils  hard  to  live  an  honest  life  1 

The  fisherman. 


124  PARLOR   TABLEAUX. 

Oh !  glad  is  he  to  see  once  more 
The  humble  cottage  on  the  shore 
That  ever  welcomes  to  its  door 

The  fisherman. 

And,  as  his  vessel  nears  the  land, 
His  children  run,  a  merry  band, 
To  greet  with  eye  and  lip  and  hand 
The  fisherman. 

His  wife,  with  baby  on  her  arm, 
Trips  down  to  give  him  welcome  warm ; 
And  infancy's  sweet  lispings  charm 
The  fisherman. 

Sometimes  that  wife  will  trembling  hear 
The  night-storm  howling  wild  and  drear, 
Dreading  no  coming  morn  will  cheer 
The  fisherman ; 

And,  weeping,  on  her  bended  knees 
Will  pray  to  Him  who  still  the  seas,  — 
"  Oh  !  send  back  to  his  babes  and  me 
The  fisherman." 

Whose  widowed  wife  should  be  our  care  ? 
Whose  children  should  our  bounty  share  ? 
His  who  for  us  did  danger  dare,  — 

The  fisherman. 

THIS  tableau,  as  is  well  explained  by  the  poem,  represents 
an  English  fisherman  on  his  return  from  a  voyage,  greeted 


THE  FISHERMAN'S  RETURN.  125 

by  his  wife  and  family.  The  characters  are  the  fisherman, 
his  wife,  and  three  children.  The  gentleman  taking  the 
character  of  the  fisherman  stands  upon  the  right  of  the 
stage.  His  body  is  bent  forward,  his  right  leg  extended, 
and  the  left  resting  upon  the  toe  of  the  left  foot,  as  if  ad- 
vancing :  his  arms  are  stretched  forward  towards  his  little 
girl,  who  stands  before  him ;  while  he  looks  towards  his 
wife  with  a  pleased  expression.  He  wears  a  blue  shirt  and 
trousers,  tarpaulin  or  a  straw  hat,  and  a  beard  to  match  the 
color  of  his  hair. 

A  little  girl  some  four  to  six  years  of  age  stands  directly 
in  front  of  him,  towards  the  centre.  She  is  dressed  in  a 
white  or  blue  dress,  her  hair  thrown  back  in  curls,  and  her 
arms  extended  towards  her  father,  with  a  smiling  expression 
upon  her  face. 

By  the  side  of  the  girl,  towards  the  back  of  the  stage, 
stands  the  fisherman's  son,  a  boy  of  about  nine  or  ten  years 
of  age.  His  left  hand  is  at  his  side,  his  right  raised  above 
his  head,  as  if  giving  a  shout  of  joy  as  he  looks  towards  his 
father.  He  wears  a  cloth  cap  without  visor,  and  ordinary 
jacket  and  trousers. 

The  lady  personating  the  wife  of  the  fisherman  stands  at 
the  left-hand  corner  of  the  back  of  the  stage.  She  should 


126  PARLOR   TABLEAUX. 

hold  in  her  arms  a  young  child,  if  available ;  though  this 
accessory  is  not  indispensable.  Her  left  foot  is  placed  in 
advance  of  her  right,  as  if  moving  forward ;  and  she  looks 
towards  her  husband  with  a  pleased  expression.  She  wears 
a  plain  striped  calico  with  loose  waist,  cap,  and  handker- 
chief around  her  neck.  The  stage  should  be  bare,  with  the 
exception  of  some  poles  and  a  net,  which  may  be  laid  upon 
the  floor  at  the  back.  Music,  "  Home  Again." 


ON   THE   FENCE. 

TWO   MALE   FIGURES   AND   ONE   FEMALE. 

THE  stage  for  this  scene  should  represent  a  rustic  retreat, 
with  a  long  wooden  seat  extending  across  the  stage  from  the 
centre  of  the  background  towards  the  right  of  the  stage. 
The  seat  may  be  a  plain  wooden  plank,  about  eight  feet 
long  by  one  wide,  placed  upon  two  boxes,  painted  or  cov- 
ered with  green,  about  two  feet  high.  As  the  curtain  rises, 
a  young  lady  is  discovered  seated  upon  the  centre  of  the 
plank,  with  her  face  towards  the  front.  She  is  simply 
dressed  in  a  blue  dress,  white  cape,  and  straw-hat.  She 
does  not  look  at  either  of  the  young  men,  but  straight  for- 


THE    RECOGNITION.  127 

ward,  with  a  hesitating  expression.  Upon  the  right,  in  the 
rear  of  the  seat,  a  young  man  gayly  dressed,  with  long  side- 
whiskers  and  light-kid  gloves,  is  standing.  He  leans  for- 
ward towards  the  young  lady,  offering  his  right  arm  with  a 
complacent  expression.  On  the  left,  a  young  man,  dressed 
as  a  farmer,  stands  looking  at  the  lady  with  a  sheepish  ex- 
pression. The  curtain  descends  ;  then  quickly  rises,  show- 
ing the  young  lady  and  farmer  together,  arm-and-arm, 
looking  contentedly  at  each  other ;  while  the  exquisite  on 
the  right  raises  his  hands,  and  elevates  his  eyebrows  in 
surprise.  Music  lively. 


THE  RECOGNITION. 

TWO   GENTLEMEN. 

THIS  subject  is  from  the  celebrated  picture  by  Constant 
Meyer,  the  artist  of  Consolation,  which  first  made  him 
famdus.  Although  the  sentiment  of  this  picture  is  entirely 
different  from  the  one  first  known,  and  in  many  respects 
not  as  pleasing,  still  the  subject  is  entirely  original  and 
very  striking,  forming  a  very  impressive  tableau.  Like 
Consolation,  it  is  an  episode  of  the  late  war  between  the 


128  PARLOR    TABLEAUX. 

North  and  the  South,  and  illustrates  one  of  those  terrible 
incidents  naturally  growing  out  of  this  conflict  between 
friends,  relations,  and  brothers.  Nothing  could  be  in 
greater  contrast  to  the  quiet,  tender,  almost  heavenly  spirit 
of  the  first  picture,  than  the  agonizing  expression  of  the 
Southern  soldier  in  "  The  Recognition." 

The  scene  of  the  picture  is  a  battle-field.  Upon  the  left 
of  the  stage,  a  bank  of  boxes  and  pillows,  covered  with 
green  cambric  or  baize,  should  be  made,  sloping  from  a 
height  of  about  three  feet  from  the  extreme  left  of  the  stage 
to  the  level  of  the  centre. 

The  characters  are  a  young  Union  soldier  of  about  nine- 
teen years  of  age,  and  his  brother,  some  seven  years  older, 
a  soldier  of  the  Rebel  army.  As  the  curtain  rises,  the 
young  Union  soldier  is  discovered  lying  stretched  upon  the 
bank,  with  his  head  towards  the  left,  his  feet  extended 
towards  the  centre  of  the  stage.  His  right  arm  is  close  to 
his  side,  his  left  extended  on  the  bank  towards  the  front ; 
the  lower  limbs  lying  carelessly  upon  the  bank.  His 'face 
is  turned  upward,  and  his  coat  and  shirt  open,  showing  his 
breast,  upon  which  is  the  mark  of  a  wound. 

He  wears  light-blue  trousers,  —  one  leg  of  which  is 
turned  up,  and  the  limb  bandaged,  —  a  dark-blue  coat,  and 
striped  shirt.  His  eyes  are  closed  as  in  sleep. 


THE  FATHER'S  OATH.  129 

The  older  man  kneels  behind  the  young  soldier,  his  right 
hand  grasping  firmly  the  young  man's  right  below  the  el- 
bow, his  left  under  his  shoulder.  He  kneels  upon  his  right 
knee,  his  head  bent  forward,  and  looking  upon  the  face  of 
his  companion  with  an  earnest,  agonized  expression,  as  he 
recognizes  his  own  brother  in  the  person  of  the  man  he  has 
killed.  He  wears  a  brown  jacket  and  pants,  black,  bushy 
beard,  and  a  bandage  around  his  head..  The  stage  should 
be  quite  dark,  with  flashes  of  red  light  thrown  on  at  inter- 
vals, succeeded  by  a  bright-blue  light.  Music  alternately 
loud  and  soft. 

THE   FATHER'S  OATH. 

ONE  GENTLEMAN  AND  ONE  LADY. 

Una.  If  it  is  Heaven's  will  to  take  me  from  you,  Reuben^  our  com- 
mon faith  teaches  us  submission  ;  but,  whether  long  life  or  early  death 
be  my  doom,  I  think  you  would  not  wish  the  one  a  slow  suffering,  and 
the  other  a  bitter  agony.  Swear  to  me,  Reuben,  that  you  will  be  true 
to  the  trust  that  the  dead  reposed  in  you ;  that  you  will  use  all  your 
endeavors  to  find  out  the  lawful  owners  of  the  money ;  and,  when  they 
are  found,  that  you  will  restore  it,  intact,  to  their  hands  !  ( Taking  book 
from  his  hand.)  Swear  to  me,  Reuben,  on  your  father's  copy  of  the 
law  (placing  the  book  on  the  head  of  the  cradle),  on  the  head  of  our 
sleeping  babe ! 

9 


130  PARLOR   TABLEAUX. 

Reuben.  I  will,  Lina,  I  will,  when  we  are  safe  at  Bonn. 

Linn.  No:  here  and  now!  (She  draws  htm  toward  the  cradle.)  I 
will  not  go  without  your  oath.  All  earthly  witness  to  the  trust  dies 
with  me ;  but  the  Judge  of  life  and  death,  he  saw,  he  sees !  Swear, 
Reuben  !  ( Music  very  piano. ) 

Reuben.  (Kneels  beside  cradle,  placing  one  hand  on  the  book  on  head  of 
the  cradle.)  I  swear ! 

THE  scene  of  this  tableau  is  from  Tom  Taylor's  drama 
of  "  Payable  on  Demand."  A  proscribed  Jew,  named  Reu- 
ben Goldsched,  who,  contrary  to  the  laws  of  his  sect,  has 
married  a  Christian,  thereby  losing  much  of  his  business 
and  becoming  quite  poor,  receives  a  deposit  of  a  large  sum 
of  money  from  an  aristocrat,  at  the  period  of  the  French 
Revolution.  On  the  same  day  that  the  money  is  left  with 
Reuben,  the  marquis  to  whom  it  belongs  is  murdered  in  the 
streets. 

The  Jew  has  no  clew  to  the  relations  of  the  marquis ; 
but  his  wife  Lina  will  not  hear  of  keeping  the  money,  and 
persuades  him  to  take  an  oath  on  the  head  of  their  child  to 
seek  out  the  owners,  and  restore  it  to  them.  The  cradle  of 
the  child  is  at  the  right  of  the  centre  of  the  stage,  near  the 
front,  the  head  towards  the  audience,  so  as  to  conceal  the 
inside.  Lina  stands  behind  the  cradle,  near  the  head,  her 
left  hand  at  her  side,  her  right  pointing  upwards,  and  arm 


ENOCH  ARDEN'S  RETURN.  131 

raised,  as  she  looks  at  Reuben  with  a  pleading  expression. 
Reuben  kneels  with  his  right  hand  upon  a  book  on  the  head 
of  the  cradle,  his  face  looking  upwards,  and  his  right  hand 
raised,  as  if  taking  an  oath.  He  wears  black,  pointed 
beard,  black  gaberdine,  or  domino,  and  shoes.  Lina  wears 
a  blue  skirt  and  black  bodice.  There  should  be  a  chair  and 
table  on  the  left.  A  blue  light  is  thrown  from  the  left. 
Music  very  piano. 


ENOCH   ARDEN'S   RETURN. 

THREE  GENTLEMEN,    A    BOY,     TWO     LADIES,    AND    A    YOUNG 

GIRL. 

And  on  the  right  hand  of  the  hearth  he  saw 
Philip,  the  slighted  suitor  of  old  times, 
Stout,  rosy,  with  his  babe  across  his  knees  : 
And  o'er  her  second  father  stooped  a  girl,  — 
A  later  but  a  loftier  Annie  Lee, 
Fair-haired  and  tall ;   and  from  her  lifted  hand 
Dangled  a  length  of  ribbon  and  a  ring 
To  tempt  the  babe,  who  reared  his  creasy  arms, 
Caught  at  and  ever  missed  it ;  and  they  laughed. 
And  on  the  left  hand  of  the  hearth  he  saw 
The  mother  glancing  often  toward  the  babe, 
But  turning  now  and  then  to  speak  with  him, 


132  PARLOR   TABLEAUX. 

Her  son,  who  stood  beside  her,  tall  and  strong, 
And  saying  that  which  pleased  him ;  for  he  smiled. 

"  Too  hard  to  bear !     Why  did  they  take  me  thence  ? 

O  God  Almighty,  blessed  Saviour,  thou 

That  didst  uphold  me  on  my  lonely  isle ! 

Uphold  me,  Father,  in  my  loneliness, 

A  little  longer !     Aid  me ;  give  me  strength 

Not  to  tell  her,  —  never  to  let  her  know  ! 

My  children  too  !  —  must  I  not  speak  to  these  ? 

They  know  me  not.     I  should  betray  myself. 

Never !  —  no  father's  kiss  for  me,  —  the  girl 

So  like  her  mother,  and  the  boy,  my  son !  " 

TENNYSON. 

THE  portion  of  Tennyson's  poem  of  "  Enoch  Arden" 
describing  this  sce.ne  is  one  of  the  most  pleasing,  and  is  a 
very  fine  subject  for  a  tableau. 

The  story  of  Enoch  Arden  is  probably  well  known  to 
the  majority  of  readers,  though  it  may  be  well  to  give  a 
brief  sketch  of  the  circumstance  of  the  picture.  Enoch  Ar- 
den and  Philip  Ray  were,  in  their  youth,  rivals  for  the  hand 
of  Annie  Lee.  Enoch  is  the  successful  suitor,  and  becomes 
the  husband  of  Annie.  Being  a  sailor,  he  is  obliged, 
shortly  after  his  marriage,  to  leave  his  wife,  and  go  to  sea. 
His  passage  is  stormy,  and  his  vessel  wrecked  on  a  desolate 


ENOCH  ARDEN'S  RETURN.  133 

island,  where  he  is  obliged  to  remain  for  many  years.  He 
is  believed  to  be  dead  by  his  wife,  who,  after  waiting  for 
years,  consents  to  marry  Philip  Ray.  Enoch  is  finally  res- 
cued from  the  island,  and  wanders  back  to  his  old  home  to 
find  his  wife  another's. 

The  tableau  represents  him  looking  in  at  the  window  of 
Philip's  house,  where  he  beholds  the  happy  family,  and 
prays  for  strength  to  support  him  in  his  bitter  disappoint- 
ment, and  for  help  to  bear  it  in  silence.  A  wooden  frame 
about  four  feet  square,  of  laths,  or  narrow  boards,  should 
be  constructed,  with  a  narrow  piece  extending  longitudi- 
nally from  top  to  bottom  of  the  frame,  dividing  the  whole 
space  in  two  equal  parts,  to  represent  a  window.  A  large, 
wide  box,  two  or  three  feet  high,  should  be  placed  at 
the  back  of  the  regular  stage,  to  be  used  as  a  supplement- 
ary platform  for  the  figures  who  occupy  the  space  in  the 
background. 

The  frame  should  be  supported  on  this  platform  at  a  dis- 
tance of  about  eighteen  inches  above  its  level ;  and  the  cur- 
tains used  for  the  background  should  be  sewed  or  pinned 
around  the  outside  of  the  frame,  so  as  to  close  in  the  whole 
of  the  back  part  of  the  stage,  except  that  occupied  by  the 
frame.  The  frame  should  be  in  the  centre  of  the  back- 


134  PARLOR   TABLEAUX. 

ground,  at  the  height  of  the  extra  platform,  added  to  the 
eighteen  inches  from  that  above  the  regular  stage. 

The  gentleman  representing  Enoch  should  stand  at  the 
right  of  the  centre  of  the  stage,  his  left  hand  upon  his 
breast,  his  right  extended,  palm  downwards,  and  his  face 
turned  upwards  with  an  earnest,  supplicating  expression. 

He  wears  a  short  green  or  blue  jacket,  black  waistcoat, 
corduroy  pantaloons,  black-silk  cravat  with  ends  hanging, 
broad  collar,  and  tarpauling  hat :  he  also  wears  gray  hair 
and  whiskers ;  and  his  face  is  pale,  and  marked  with  deep 
lines.  The  remaining  figures  of  the  group  are  all  behind 
the  window-frame.  The  lady,  Enoch's  wife,  is  seated  in  a 
chair  near  the  frame,  and  at  the  right-hand  side  :  the  right 
side  of  her  face  is  towards  the  audience,  her  hands  lying 
folded  in  her  lap  ;  and  she  looks  towards  her  child,  who  is 
seated  on  his  father's  knee.  She  wears  a  slate-colored  waist 
with  drapery-sleeves  and  dark  skirt,  a  white  cap  partially 
covering  her  head.  A  young  man  about  eighteen  years  of 
age  stands  behind  her  chair,  looking  down  towards  her  with 
a  fond  expression :  his  right  hand  is  upon  the  back  of  the 
chair,  and  he  wears  a  plain,  dark  suit,  with  sailor's  cravat. 
The  gentleman  personating  Philip  Ray  is  seated  farther 
back,  and  nearer  the  left  of  the  stage.  His  arms  are 


THE    WIDOW    OF    GLENCOE.  135 

around  his  little  son,  who  is  in  his  lap  ;  and  he  looks  down 
towards  him  with  a  pleased  expression.  He  wears  a  suit 
of  brown  cloth  :  his  hair  is  gray,  his  face  smooth.  The 
daughter  is  a  young  girl  about  fourteen  years  of  age.  She 
stands  at  the  left  of  Philip,  behind  the  chair,  her  right  hand 
upon  the  back,  her  left  holding  a  ribbon,  with  ring  attached, 
before  the  child,  whom  she  looks  at  with  a  smile  upon  her 
face.  She  wears  a  blue  dress,  and  ribbon  at  the  neck. 
The  child  is  about  two  years  of  age,  and  stretches  out  his 
hands  for  the  ring  and  ribbon,  looking  upwards.  A  bright 
light  should  be  thrown  upon  the  figures  behind  the  frame. 
Music,  "  Home,  sweet  home." 


THE  WIDOW  OF  GLENCOE. 

FOUR  GENTLEMEN  AND  ONE  LADY. 

Do  not  lift  him  from  the  bracken  :  leave  him  lying  where  he  fell. 
Better  bier  ye  cannot  fashion  :  none  beseems  him  half  so  well 
As  the  bare  and  broken  heather,  and  the  hard  and  broken  sod, 
Whence  his  angry  soul  ascended  to  the  judgment-seat  of  God! 
Winding-sheet  we  cannot  give  him  :  seek  no  mantle  for  the  dead, 
Save  the  cold  and  spotless  covering  showered  from  heaven  upon  his 
head. 


136  PARLOR   TABLEAUX. 

Leave  the  broad-sword  as  we  found  it,  rent  and  broken  with  the  blow, 
That,  before  he  died,  avenged  him  on  the  foremost  of  the  foe  : 
Leave  the  blood  upon  the  bosom ;  wash  not  off  the  sacred  stain ; 
Let  it  stiffen  on  the  tartan  ;  let  his  wounds  unclosed  remain 
Till  the  day  when  he  shall  show  them  at  the  throne  of  God  on  high, 
When  the  murderer  and  the  murdered  meet  before  the  Judge's  eye ! 
Nay,  ye  should  not  weep,  my  children  !  leave  it  to  the  faint  and  weak : 
Sobs  are  but  a  woman's  weapons ;  tears  befit  a  maiden's  cheek. 
Weep  not,  children  of  Macdonald  !  weep  not,  thou  his  orphan  heir  ! 
Not  in  shame,  but  stainless  honor,  lies  thy  slaughtered  father  there  : 
Weep  not ;  but  when  years  are  over,  and  thine  arm  is  strong  and  sure, 
And  thy  step  is  swift  and  steady  on  the  mountain  and  the  muir, 
Let  thy  heart  be  hard  as  iron,  and  thy  wrath  as  fierce  as  fire, 
Till  the  hour  when  vengeance  cometh  for  the  race  that  slew  thy  sire. 

But  I  will  not  wrong  thee,  husband,  with  my  unavailing  cries, 
Whilst  thy  cold  and  mangled  body  stricken  by  the  traitor  lies ; 
Whilst  he  counts  the  gold  and  glory  that  this  hideous  night  has  won, 
And  his  heart  is  big  with  triumph  at  the  murder  he  has  done. 
Other  eyes  than  mine  shall  glisten,  other  breasts  be  rent  in  twain, 
Ere  the  heath-bells  on  the  hillock  wither  in  the  autumn  rain. 
How  I'll  seek  thee  where  thou  sleepest !  and  I'll  veil  my  weary  head, 
Praying  for  a  place  beside  thee,  dearer  than  my  bridal  bed ; 
And  I'll  give  thee  tears,  my  husband,  if  the  tears  remain  to  me, 
When  the  widows  of  the  foeman  cry  the  coronach  to  thee. 

W.  E.  AYTOUN. 

MANY  of  the  Scottish  chiefs  at  the  time  of  King  William's 
accession  to  the  throne  in  1688  refused  to  acknowledge  his 
right,  and  still  adhered  to  James.  In  August,  1691,  Wil- 


THE    WIDOW   OF    GLENCOE.  137 

liam  issued  a  proclamation,  offering  pardon  to  all  who 
would  take  the  oath  of  allegiance  before  Dec.  31. 
These  terms  were  accepted  by  all  the  chiefs,  except  Mac- 
donald  of  Glencoe.  The  old  chief,  however,  went  to  Fort 
William,  on  Dec.  31,  to  take  the  oath:  but  the  officer, 
saying  he  had  not  sufficient  authority  to  receive  it,  referred 
him  to  the  officer  commanding  at  Invernay  ;  where  Macdon- 
ald  repaired,  and  took  the  oath,  Jan.  6,  1692.  The  Earl  of 
Argyle,  and  some  other  enemies  of  the  Macdonald  clan,  tak- 
ing advantage  of  this  unavoidable  delay,  persuaded  King 
William  that  the  clan  were  still  in  rebellion,  and  obtained 
permission  to  extirpate  it.  Accordingly,  one  hundred  and 
twenty  soldiers,  under  the  command  of  Campbell  of  Glen- 
lyon,  were  sent  to  Glencoe  on  Feb.  1.  They  were  re- 
ceived with  hospitality,  and  treated  as  guests  at  the  chief- 
tain's castle  for  two  weeks.  On  Feb.  12,  they  supped 
and  played  cards  with  Macdonald ;  and  on  the  same  night 
he  was  visited  by  Lieut.  Lindsey,  and,  as  he  arose  from  his 
bed  to  order  refreshments,  was  shot  through  the  head  ;  and 
his  wife  received  such  injuries  as  resulted  fatally  the  next 
day.  Several  families  were  massacred  in  the  same  way, 
about  forty  persons  in  all  being  killed  :  a  large  number, 
however,  escaped  to  the  mountains,  where  many  perished 


138  PARLOR   TABLEAUX. 

of  starvation.  The  scene  given  represents  one  of  the  fallen 
chiefs,  surrounded  by  his  wife  and  friends.  The  gentleman 
personating  the  fallen  chieftain  should  lie  upon  the  floor  of 
the  stage,  near  the  front,  wit.li  his  head  towards  the  right, 
and  lying  upon  his  right  arm,  which  is  bent  under  it.  His 
left  arm  lies  at  his  side,  and  his  lower  limbs  are  extended 
towards  the  left.  His  eyes  are  closed,  his  face  very  pale, 
and  turned  towards  the  audience  with  a  fixed  expression. 
He  wears  a  black  tunic  trimmed  with  gold,  belt  and  kilt, 
plaid  scarf  tied  over  the  shoulder,  striped  stockings,  and 
shoes.  His  tunic  is  thrown  open  in  front,  showing  a  wound 
upon  his  breast ;  and  his  sword  is  at  his  side.  The  chief- 
tain's widow  kneels  behind  him.  Her  right  hand  is  raised 
above  her  head,  pointing  upwards  ;  her  left  clasps  the  hand 
of  her  little  boy,  who  stands  beside  her.  She  wears  a  dress 
of  black  or  crimson,  with  low  neck  and  short  sleeves,  a 
plaid  scarf  attached  to  the  belt  and  tied  at  the  shoulders, 
and  a  black-lace  veil  and  jet  coronet  upon  her  head :  her 
face  is  very  pale,  and  she  looks  upwards  with  an  earnest 
expression. 

The  child  should  be  from  five  to  seven  years  of  age.  He 
stands  at  the  left  of  the  lady,  his  right  hand  holding  her 
left,  his  left  at  his  side :  he  stands  close  to  her,  looking  up, 


IN   THE   WILDERNESS.  139 

as  she  points,  with  a  sad  expression  upon  his  face.  His 
costume  is  a  tunic  of  black  velvet,  with  plaid  scarf  and  kilt, 
striped  stockings,  shoes,  and  Scotch  cap  with  feather. 

The  two  other  gentlemen  are  upon  the  right  of  the  stage. 
They  kneel  at  the  head  of  their  chief,  their  faces  toward  the 
left,  presenting  a  side-view  to  the  audience.  The  one  on 
the  outside,  nearest  the  front,  with  clasped  hands,  looks 
down  with  an  expression  of  grief  at  the  fallen  friend  ;  while 
the  other  bows  his  head  upon  his  hands,'  covering  his  face. 
They  should  be  dressed  in  a  costume  similar  to  that  of  the 
chief,  but  simpler,  and  of  different  color.  Flashes  of  light 
should  be  thrown  upon  the  group  at  intervals.  Music  slow, 
and  of  a  mournful  character. 

IN  THE  WILDERNESS. 

ONE    GENTLEMAN. 

Mangled,  uncared  for,  suffering  through  the  night, 
With  heavenly  patience  the  poor  boy  had  lain 

Under  the  dreary  shadows  left  and  right : 

Groaned  on  the  wounded,  stiffened  out  the  slain. 

What  faith  sustained  his  lone 

Brave  heart  to  make  no  moan, 

To  send  no  cry  from  that  blood-sprinkled  sod, 

Is  a  close  mystery  with  him  and  God. 


140  PARLOR   TABLEAUX. 

But  when  the  light  came,  and  the  morning  dew 

Glittered  around  him  like  a  golden  lake ; 
And  every  dripping  flower,  with  deepened  hue, 

Looked  through  its  tears  for  very  pity's  sake,  — 
He  moved  his  aching  head 
Upon  its  rugged  bed, 
And  smiled,  as  a  blue  violet,  virgin-meek, 
Laid  her  pure  kiss  upon  his  withered  cheek. 

The  strangest  posy  ever  fashioned  yet 
Was  clasped  against  the  bosom  of  the  lad, 

As  we,  the  seekers  for  the  wounded,  set 

His  form  upon  our  shoulders,  bound  and  sad ; 

Thought  he  but  seemed  to  think 

How  violets  nod  and  wink  ; 

And  as  we  cheered  him,  for  the  path  was  wild,  « 

He  only  looked  upon  the  flowers,  and  smiled. 

GEORGE  H.  BOKER. 

THIS  simple  picture  represents  a  scene  on  the  battle-field 
of  the  Wilderness,  —  one  of  the  hardest-fought  battles  of 
the  late  war. 

Upon  the  right  of  the  stage,  an  irregular  box  about  two 
feet  high  is  placed,  and  covered  with  brown  cambric  to 
represent  a  stump  of  a  tree ;  or  a  small  box,  covered  with 
green,  will  answer.  The  young  man  personating  the 
wounded  soldier  should  be  about  twenty  years  of  age,  and 
of  handsome  features.  He  lies  upon  the.  floor  of  the  stage, 


SPIRIT    OP    '76.  141 

with  his  right  elbow  resting  upon  the  stump,  his  head  sup- 
ported upon  his  right  hand.  He  leans  toward  the  right, 
looking  down  upon  a  small  cluster  of  violets  which  he  holds 
in  his  left  hand.  His  right  leg  is  bent  at  the  knee,  his  left 
extended  straight.  He  wears  a  flannel  shirt,  open  at  the 
neck ;  light-blue  trousers,  with  the  left  leg  turned  up  nearly 
to  the  knee*,  and  a  bandage  tied  round  the  limb  near  the 
ankle.  The  tableau  should  be  lighted  by  flashes  of  red  fire 
thrown  from  the  left.  Music  alternately  loud  and  soft. 

SPIRIT   OF  '76 

THREE  GENTLEMEN  AND  THREE  LADIES. 

Listen,  young  heroes  !  —  your  country  is  calling ; 

Time  strikes  the  hour  for  the  brave  and  the  true  : 
Now,  while  the  foremost  are  fighting  and  falling, 

Fill  up  the  ranks  that  have  opened  for  you  ! 

Stay  not  for  questions  while  Freedom  stands  gasping ; 

Wait  not  till  Honor  lies  wrapped  in  his  pall : 
Brief  the  lips'  meeting  be,  swift  the  hands'  clasping ; 

Off  to  the  wars  is  enough  for  them  all ! 

Break  from  the  arms  that  would  fondly  caress  you : 
Hark !  'tis  the  bugle-blast !  sabres  are  drawn  ! 

Mothers  shall  pray  for  you,  fathers  shall  bless  you, 
Maidens  shall  weep  for  you,  when  you  are  gone. 


142  PARLOR   TABLEAUX. 

"  Never  or  now  !  "  cries  the  blood  of  a  nation, 
Poured  on  the  turf  where  the  red  rose  should  bloom  : 

Now  is  the  day  and  the  hour  of  salvation  ; 
"Never  or  now  !  "  peals  the  trumpet  of  doom. 

O.  W.  HOLMES. 

THIS  scene  forms  a  very  fine  domestic  tableau  of  the 
Revolutionary  epoch  of  '76,  and  may  be  produced  with  but 
little  expense  in  the  way  of  time  and  costuming.  The  prin- 
cipal figure  of  the  group  is  a  young  man  of  about  twenty- 
five  years  of  age.  He  is  represented  as  about  leaving  his 
family,  who  are  seen  busy  in  preparation  for  his  departure 
to  the  field.  He  stands  a  little  farther  back  than  the  centre 
of  the  stage,  his  right  hand  grasping  a  musket,  with  bayo- 
net attached,  which  is  extended  towards  him  ;  his  left  rest- 
ing upon  the  hilt  of  a  sword,  which  is  held  towards  him 
from  the  left.  About  two-thirds  of  his  face  is  turned 
towards  the  audience,  and  he  looks  out  towards  the  right 
with  a  determined  expression  upon  his  face.  He  is  dressed 
in  a  dark  uniform-coat  of  the  period,  with  lace  ruffles  at  the 
wrists,  black  vest  with  broad  lace  ruffles,  black  breeches, 
silk  stockings,  and  buckle-shoes.  The  old  man,  his  father, 
stands  at  his  right,  holding  the  gun  towards  him,  the  stock 
lying  upon  his  left  hand,  while  his  right  is  upon  the  lock ; 


SPIRIT   OF    '76.  143 

and  he  looks  at  that  part  carefully,  as  if  examining  its  condi- 
tion. He  is  dressed  in  light-brown  coat  and  breeches,  dark 
vest,  silk  stockings  and  pumps,  and  a  gray  wig,  with  bald 
front  upon  his  head.  The  young  man's  mother  stands  at 
his  left,  holding  the  sword  in  her  left  hand  towards  the  son  ; 
while  her  right  is  raised  above  her  head,  and  pointed  up- 
wards, as  she  looks  at  him  with  an  earnest  expression. 

Her  dress  is  of  plain  black  material,  with  small  white 
shawl  over  the  shoulders,  pinned  at  the  waist,  and  cap  with 
ruffle  upon  her  head.  One  lady  kneels  in  front  of  the  young 
man,  holding  the  ends  of  a  sword-belt,  which  passes  over 
his  shoulders,  in  her  hands,  in  the  act  of  fastening  it.  She 
is  plainly  dressed,  with  a  large  handkerchief  over  her  shoul- 
ders, and  her  sleeves  rolled  up  above  her  elbows.  In  this 
position,  her  back  is  towards  the  audience.  The  wife  of 
the  officer  is  seated  upon  the  left  of  the  stage.  She  holds 
in  her  left  hand  a  large  white  paper,  at  the  top  of  which  is 
printed  or  written  in  large  letters  the  words,  "  Fourth  of 
July,  1776."  The  leftside  of  her  face  is  turned  towards 
the  audience  ;  and  she  looks  towards  the  young  man  with  a 
firm  expression,  pointing  with  her  right  hand  to  the  paper 
which  she  is  holding.  Her  dress  is  a  gray  or  crimson  silk, 
black-lace  shawl,  and  lace  cap  upon  her  head.  A  chair, 


144  PARLOR   TABLEAUX. 

holding  a  knapsack  and  hat,  may  be  placed  upon  the  right 
of  the  stage.  The  remaining  characters  are  a  young  boy 
and  a  girl,  the  children  of  the  officer.  The  boy  is  seated 
in  front  of  his  father,  a  little  to  the  left.  He  is  engaged  in 
pouring  gunpowder  from  a  paper  into  a  horn  which  he  holds 
in  his  lap.  He  is  dressed  in  a  black-velvet  frock,  knee- 
breeches,  and  gaiters.  The  little  girl  is  seated  at  her  moth- 
er's feet,  her  right  arm  upon  her  lap,  and  looking  anxiously 
at  her  father.  She  should  be  of  light  complexion,  with 
hair  in  curls,  and  dressed  in  short  white-muslin  dress,  with 
low  neck  and  short  sleeves,  and  a  blue-silk  sash.  As  the 
curtain  rises,  a  bright-red  light  should  be  thrown  upon  the 
group,  changing  to  a  white,  and  then  to  a  bright-blue  light, 
which  remains  until  the  fall  of  the  curtain.  The  music  is 
"  Hail,  Columbia,"  or  some  other  national  American  air, 
played  in  a  spirited  manner. 

DAVID'S   LAMENT  OVER   ABSALOM. 

TWO    GENTLEMEN. 

His  hair  was  yet  unshorn,  and  silken  curls  were  floating  round 

the  tassels, 

As  glossy  now  as  when,  in  hours  of  gentle  dalliance, 
Soothing  the  snowy  fingers  of  Judaea's  daughters. 


DAVID'S    LAMENT    OVER    ABSALOM.  145 

His  helm  was  at  his  feet. 

His  banner,  soiled  with  trailing  through  Jerusalem, 

Was  laid  reversed  beside  him  ;  and  the  jewelled  hilt, 

Whose  diamonds  lit  the  passage  of  the  blade, 

Rested  like  mockery  on  his  marble  brow. 

The  king  stood  still  until  the  last  echo  died 

Upon  the  pavement ;  then  throwing  back  the  sackcloth 

From  his  brow,  and  laying  back  the  pall 

From  the  still  cold  features  of  his  child, 

He  bowed  his  head  upon  him,  and  burst  forth 

In  the  resistless  eloquence  of  woe :  — 

"  Alas,  my  noble  boy,  that  thou  shouldst  die  !  — 

Thou  who  wert  made  so  beautifully  fair ! 
That  death  should  settle  in  thy  glorious  eye, 

And  leave  his  stillness  in  this  clustering  hair  ! 
How  could  he  mark  thee  for  the  silent  tomb, 
My  proud  boy,  Absalom  ? 

And  now  farewell !     'Tis  hard  to  give  thee  up, 
With  death  so  like  a  gentle  slumber  on  thee. 
And  thy  dark  sin  !  —  oh !  I  could  drink  the  cup 
If  from  this  woe  its  bitterness  had  won  thee ! 
May  God  have  called  thee  like  a  wanderer  home, 
My  lost  boy,  Absalom ! " 

N.  P.  WILLIS. 

AT  a  little  distance  back  of  the  centre  of  the  stage,  a 
long  box  covered  with  black   is  placed,   upon  which  the 
young  man  is  lying,  with  his  head  towards  the  right.     His 
10 


146  PARLOR   TABLEAUX. 

right  arm  is  upon  his  breast,  his  left  at  his  side.  He  wears 
a  crimson-velvet  tunic  with  long  sleeves,  ornamented  with 
metal  plates  ;  the  lower  part  of  his  body  being  covered  with 
a  black  pall.  He  is  of  dark  complexion,  curling  hair,  and 
with  face  very  pale.  David  kneels  behind  the  bier,  his 
hands  clasped,  and  looking  upwards  with  a  sad  expression. 
He  wears  a  long  velvet  robe  trimmed  with  gold  or  ermine, 
with  drapery-sleeves,  ermine  cape,  white  wig  of  very  long 
hair,  mustache,  and  full  white  beard.  A  gilded  helmet 
may  be  placed  at  the  foot  of  the  bier  on  the  left,  and  a 
sword  on  the  right. 

The  young  man  who  personates  Absalom  should  be  of 
handsome,  straight  features.  A  bright-blue  light  should  be 
thrown  upon  the  figures.  Music,  some  sacred  hymn. 


EXCELSIOR. 

ONE  GENTLEMAN  AND  ONE  LADY. 

The  shades  of  night  were  falling  fast 
As  through  an  Alpine  village  passed 
A  youth,  who  bore,  'mid  snow  and  ice, 
A  banner  with  the  strange  device,  — 

"  Excelsior ! " 


EXCELSIOR.  147 

His  brow  was  sad  ;  his  eye  beneath 
Flashed  like  a  falchion  from  its  sheath ; 
And  like  a  silver  clarion  rung 
The  accents  of  that  unknown  tongue, 
"  Excelsior ! " 

"  Try  not  the  pass,"  the  old  man  said  ; 
"  Dark  lowers  the  tempest  overhead  ; 
The  roaring  torrent  is  deep  and  wide." 
And  loud  that  clarion  voice  replied, 

"  Excelsior ! " 

"  Oh,  stay !  "  the  maiden  said,  "  and  rest 
Thy  weary  head  upon  this  breast." 
A  tear  stood  in  his  bright-blue  eye  ; 
But  still  he  answered  with  a  sigh, 

"  Excelsior ! " 

"  Beware  the  pine-tree's  withered  branch  ! 
Beware  the  awful  avalanche  !  " 
This  was  the  peasant's  last  good-night. 
A  voice  replied  far  up  the  height, 

"  Excelsior !  " 

H.  W.  LONGFELLOW. 

THIS  familiar  poem  furnishes  a  very  striking  and  original 
subject  for  the  tableau. 

The  scene  represents  the  youth  as  he  is  about  to  ascend 
the  mountains,  with  the  peasant-girl  and  the  old  man  at  the 
foot  endeavoring  to  dissuade  him  from  his  perilous  enter- 


148  PARLOR   TABLEAUX. 

prise.  The  stage  should  be  covered  with  white-cotton 
sheet,  with  a  pile  of  boxes,  arranged  to  represent  a  decliv- 
ity, sloping  from  the  centre  of  the  stage  gradually  upwards 
towards  the  right.  The  young  man  should  stand  at  the 
foot  of  this  pile,  with  his  right  foot  advanced  forward  upon 
it,  as  if  ascending :  he  should  carry  in  his  right  hand  a 
small  banner,  either  of  white  cotton  or  paper,  with  the  word 
"  Excelsior "  printed  upon  it,  or  cut  out  of  black-colored 
paper,  and  sewed  on.  His  left  hand  is  raised,  and  the  fore- 
finger pointed  toward  the  inscription  upon  the  banner ;  and 
he  looks  toward  it  with  a  determined  expression,  his  lips 
firmly  set.  He  should  be  of  dark  complexion,  with  straight 
features,  and  hair  combed  back  from  his  forehead.  He 
is  dressed  in  a  slate-colored  tunic  trimmed  with  black,  with 
white  collar,  gray  stockings,  belt,  and  buckle-shoes.  The 
peasant-girl  stands  near  the  right  side  of  the  stage,  looking 
up  towards  the  young  man.  Her  clasped  hands  are  ex- 
tended towards  him  ;  and  she  leans  forward,  gazing  at  him 
with  an  appealing  expression  upon  her  face.  She  should  be 
dressed  in  a  blue  skirt,  black  bodice  with  shoulder-straps, 
white  sleeves,  cap,  striped  stockings,  and  slippers. 

The  old  man  stands  on  the  left  of  the  stage  :  his  face  is 
turned  towards  the  young  man,  and  his  right  hand  raised, 


THE  SOLDIER'S  DREAM.  149 

pointing  upward,  as  if  warning  him  of  the  impending 
storm.  He  is  dressed  in  a  brown  jacket,  red  vest,  corduroy 
breeches,  boots,  and  cloth  cap :  he  also  wears  a  gray  wig 
and  whiskers.  A  handful  of  small  pieces  of  paper  should 
be  thrown  into  the  air  before  the  curtain  rises,  to  represent 
snow.  The  noise  of  a  storm  should  be  made  without,  and 
the  light  on  the  tableau  thrown  on  in  flashes.  Music  alter- 
nately loud  and  soft. 


THE  SOLDIER'S  DREAM. 

THREE  GENTLEMEN,  A  BOY,  TWO  LADIES,  AND  A  YOUNG   GIRL. 

Our  bugles  sang  truce  ;  for  the  night-cloud  had  lowered, 
And  the  sentinel-stars  set  their  watch  in  the  sky  ; 

And  thousands  had  sunk  on  the  ground,  overpowered, — 
The  weary  to  sleep,  and  the  wounded  to  die. 

When  reposing  that  night  on  my  pallet  of  straw, 
By  the  wolf-scaring  fagot  that  guarded  the  slain, 

At  the  dead  of  the  night  a  sweet  vision  I  saw ; 
And  thrice,  ere  the  morning,  I  dreamt  it  again. 

Methought,  from  the  battle-field's  dreadful  array, 

Far,  far,  I  had  roamed  on  a  desolate  track. 
'Twas  autumn  ;  and  sunshine  arose  on  the  way 

To  the  home  of  my  fathers,  that  welcomed  me  back. 


150  PARLOR   TABLEAUX. 

Then  pledged  we  the  wine-cup,  and  fondly  I  swore 
From  my  home  and  my  weeping  friends  never  to  part : 

My  little  ones  kissed  me  a  thousand  times  o'er, 
And  my  wife  sobbed  aloud  in  her  fulness  of  heart. 

Stay,  stay  with  us ;  rest ;  thou  art  weary  and  worn  ; 

And  fain  was  their  war-broken  soldier  to  stay : 
But  sorrow  returned  with  the  dawning  of  morn, 

And  the  voice  in  my  dreaming  ear  melted  away. 

CAMPBELL. 

THIS  scene  represents  an  episode  of  one  of  our  battle- 
fields during  the  late  war.  Although  the  poem  accompany- 
ing is  not  of  recent  date,  the  sentiment  is  equally  applicable 
to  all  periods.  The  stage  is  cleared,  with  the  exception  of 
a  small  pile  of  straw,  or  a  green  bank  upon  the  left  side.  A 
set  of  curtains  should  be  placed  at  about  three  feet  in  front 
of  the  background ;  and  a  platform  about  two  feet  high  may 
be  placed  between  these  curtains  and  the  background,  though 
this  is  not  indispensable.  A  young  man  lies  upon  the  straw, 
at  the  left :  his  face  is  towards  the  background,  his  head 
towards  the  left,  and  his  limbs  extended  towards  the  right ; 
his  eyes  are  closed,  and  his  arms  lie  naturally  at  his 
sides.  He  wears  light-blue  pants,  dark-blue  coat  open  in 
front,  and  dark  fatigue-cap.  The  remaining  figures  are 
grouped  behind  the  curtains  at  the  back,  which  should  be 


THE  SOLDIER'S  DREAM.  151 

drawn  aside,  so  as  to  afford  a  complete  view  of  all  the  cha- 
racters. A  young  man  stands  a  little  to  the  left  of  the  centre 
of  the  stage,  near  the  front :  his  face  is  towards  the  right, 
looking  down  upon  his  wife,  who  stands  in  front  of 
him  ;  and  his  hands  are  extended,  grasping  those  of  his 
children,  who  stand  on  either  side.  He  wears  light-blue 
trousers,  dark-blue  coat,  fatigue-cap,  and  is  represented  as 
about  thirty  years  of  age,  and  resembling  as  nearly  as  pos- 
sible, in  height  and  feature,  the  gentleman  lying  in  the  fore- 
ground. This  may  be  accomplished  by  two  gentlemen  of 
similar  complexion  combing  the  hair  in  the  same  way,  and 
wearing  false  beards  of  the  same  shape.  The  lady  represent- 
ing the  soldier's  wife  stands  a  little  in  front  of  the  centre 
of  the  stage.  Her  face  is  towards  the  left,  her  head  leaning 
upon  the  right  shoulder  of  her  husband,  and  her  hands  ex- 
tended, and  lying  upon  his  shoulders.  She  wears  a  dark- 
blue  dress,  white  undersleeves,  and  small  cap  upon  her 
head,  or  hair  in  curls  behind.  A  young  boy  stands  at  the 
left  side  of  the  soldier,  and  nearer  the  front :  his  left  hand 
rests  in  that  of  the  soldier,  his  right  grasps  his  arm  ;  and 
he  looks  up  towards  him  with  a  pleased  expression,  his  face 
being  turned  towards  the  right.  He  should  be  eight  or  nine 
years  of  age,  and  should  wear  a  jacket  and  trousers  of  dark 


152  PARLOR   TABLEAUX. 

cloth,  with  knot  of  bright  ribbon  tied  at  the  neck.  Upon 
the  soldier's  right,  a  little  girl  six  or  seven  years  of  age 
stands.  Her  position  is  just  behind  the  mother,  close  to  her, 
holding  her  father's  right  hand  in  both  of  hers,  and  looking 
up  towards  him  with  a  smiling  expression,  her  face  towards 
the  left,  showing  a  profile  view  to  the  audience.  She  wears 
a  dress  of  some  bright-colored  material,  with  neck  cut  low, 
and  hair  in  curls.  A  table  and  two  chairs  should  be  placed 
near  the  background,  at  the  right.  A  gentleman  represent- 
ing the  father  of  the  soldier  stands  at  the  right  side  of  the 
table,  as  if  just  rising  from  the  chair  placed  there.  His  right 
hand  is  raised  to  his  forehead,  shading  his  eyes  ;  his  head 
is  inclined  forward  towards  the  left,  and  his  left  arm  ex- 
tended with  a  gesture  of  surprise.  He  wears  a  blue  coat, 
buff  vest,  and  black  trousers,  or  a  morning-gown,  and  bald 
gray  wig.  The  lady  personating  the  mother  stands  at  the 
left  side  of  the  table,  nearer  the  centre  of  the  platform.  Her 
face  is  towards  the  left,  turned  upwards,  and  her  hands 
clasped  upon  her  breast.  She  wears  a  black  dress,  white 
handkerchief  around  her  neck,  white  cap,  and  gray  hair. 

A  clear  white  or  blue  light  should  be  thrown  upon  the 
group  in  the  background  ;  the  front  of  the  stage  being  quite 
dark,  or  lighted  by  occasional  flashes  of  red  fire  thrown 
from  the  right.  Music,  "  Home,  sweet  home." 


CONSOLATION.  153 


CONSOLATION. 

ONE  GENTLEMAN   AND   ONE   LADY.. 

A  gleam  thar  dazzled ;  light  that  came  and  went, 
Struggling  to  rise ;  and  then  a  long-drawn  breath,  - 

Thus,  on  a  camp-cot  stretched  beneath  my  tent, 
I  came  to  life  from  out  a  sleep  like  death. 

'Midst  dreams  of  home,  and  of  a  mother's  care, 
I  felt  the  pressure  of  a  stranger's  hand  ; 

Heard  her  soft  voice  ascend  in  fervent  prayer  ; 
And  saw  bright  angels  close  beside  her  stand. 

With  willing  hands  she  bathed  my  aching  head ; 

Spoke  of  the  anxious  nights  and  weary  days 
Through  which  my  life  hung  on  a  slender  thread,  — 

"  Not  unto  me,  to  God,  give  all  the  praise  !  " 

Read  golden  words  from  out  the  Book  of  life, 
Pointing  with  upraised  finger  to  the  skies ; 

Told  me  that  victory  crowned  that  day's  fierce  strife  ; 
Whispered  of  Him  whose  mercy  never  dies. 

What  though  her  cross,  and,  more,  her  simple  dress, 
Bespoke  allegiance  to  the  Church  of  Rome  ? 

Is  there  a  patent  on  the  power  to  bless  ? 

Can  but  one  church  supply  the  place  of  home  ? 


154  PARLOR   TABLEAUX. 

Think  you  she  stopped  to  question  what  ray  creed 
When  first  they  found  me  bleeding  on  the  sod  ? 

Should  I  have  asked  her,  "  Are  we  both  agreed 
As  to  the  form  in  which  to  worship  God  ?  " 

There  is  a  church  broad  as  the  heaven  above ; 

Its  faith  as  pure  as  God's  resplendent  throne ; 
Its  creed,  humanity ;  its  precept,  Love : 

Sister  of  Mercy,  these  are  all  thine  own. 

W.  H.  K.,  "Evening  Transcript,"  May  31,  1865. 

THIS  beautiful  and  simple  tableau  is  from  the  celebrated 
painting  by  Constant  Meyer,  which,  at  the  time  of  its  exhi- 
bition in  Boston  in  the  spring  of  '65,  attracted  very  general 
attention,  and  excited  warm  admiration,  not  only  from  its 
wonderful  drawing  and  coloring,  but  from  its  inherent  poet- 
ry of  sentiment,  which  touched  the  hearts  of  all  who  were  so 
fortunate  as  to  see  it.  The  picture  represents  a  young  Union 
soldier  lying  wounded  upon  a  hospital-bed,  with  one  of  the 
order  of  Sisters  of  Charity  kneeling  beside  him,  reading  and 
speaking  to  him  words  of  comfort  and  hope.  A  low  bed,  or 
a  pile  of  two  or  three  mattresses,  should  be  placed  just  back 
of  the  centre  of  the  stage,  with  pillows  upon  the  right  end, 
and  covered  with  blankets.  A  small,  plain,  wooden  table 
is  placed  upon  the  left  of  the  stage,  upon  which  is  an  ordi- 
nary tin  dipper  and  a  small  glass  vial. 


CONSOLATION.  155 

The  young  soldier  lies  upoii  the  blanket,  with  his  head 
towards  the  right,  the  upper  part  of  his  body  raised  by  pil- 
lows, his  face  towards  the  audience,  his  hands  clasped, 
lying  upon  the  pillow  under  his  right  cheek.  He  should  be 
of  dark  complexion,  with  black  mustache.  His  face  is  very 
pale,  with  lines  under  the  eyes  ;  and  he  wears  a  thoughtful, 
attentive,  but  rather  painful  expression  of  countenance.  His 
dress  is  a  dark-blue  fatigue-jacket,  with  sleeves  turned  back, 
shirt  open  at  the  neck,  light-blue  trousers,  and  bandage  tied 
around  his  head.  His  lower  limbs  are  partially  covered  by  a 
blanket.  The  lady  kneels  at  the  right  of  the  bed  or  mattress- 
es, at  a  point  about  in  the  centre  of  the  stage.  A  small  book 
is  in  her  right  hand  :  her  left  is  raised,  the  forefinger  point- 
ing upwards  ;  and  she  looks  down  toward  the  book,  with  her 
face  towards  the  audience,  with  a  benevolent  expression. 
She  wears  a  long  black  robe  with  very  wide  drapery-sleeves, 
broad  white  collar  cut  in  a  circular  shape,  about  six  inches 
wide,  a  white  band  tied  close  to  her  face,  white  cap  and 
lawn  veil  upon  her  head,  and  beads  with  cross,  attached  to 
the  waist.  She  should  have  dark  hair,  with  clear  complex- 
ion and  straight  features. 

The  curtains  at  the  back  should  be  parted  at  a  little  to  the 
left  of  the  centre,  showing  the  wall  behind.  A  blue  or  a 


156  PARLOR   TABLEAUX. 

white  light  should  be  thrown  upon  the  figures  from  the  right. 
Music,  "  Come,  ye  disconsolate." 


THE   CHRISTMAS-TREE. 

TWO  GENTLEMEN,  A   LADY,  AND   SEVEN   OR   MORE  CHILDREN. 

Christmas  is  here : 
Winds  whistle  shrill, 
Icy  and  chill. 
Little  care  we ; 
Little  we  fear 
Weather  without, 
Sheltered  about 
The  mahogany-tree. 

Here  let  us  sport, 
Boys,  as  we  sit ; 
Laughter  and  wit 
Flashing  so  free. 
Life  is  but  short : 
When  we  are  gone, 
Let  them  sing  on 
Round  the  old  tree. 

Evenings  we  knew 
Happy  as  this ; 
Faces  we  miss, 
Pleasant  to  see. 


THE    CHRISTMAS-TREE.  157 

Kind  hearts  and  true, 
Gentle  and  just, 
Peace  to  your  dust 
We  sing  round  the  tree. 

W.  M.  THACKERAY. 


THIS  is  a  familiar  scene,  probably,  to  almost  all  readers : 
if  there  be  any  to  whom  the  subject  is  a  novelty,  I  trust  the 
idea  here  given  will  be  a  source  of  pleasure  to  them  in  the 
realization.  Upon  the  right  of  the  centre  of  the  stage,  two 
chairs  are  placed,  in  which  are  seated  the  grand  father  and 
mother  of  the  children,  taking  part.  The  old  man  is  seated 
nearer  the  centre  of  the  stage,  with  his  right  arm  around  a 
little  girl,  who  looks  up  with  a  pleased  expression,  holding 
up  a  doll  towards  him :  he  wears  a  morning-gown,  buff 
trousers,  and  waistcoat.  The  grandmother  is  seated  on  the 
right,  with  her  left  hand  upon  the  head  of  a  little  boy  be- 
side her,  who  looks  up  towards  her,  holding  up  a  new  toy 
for  her  admiration :  she  is  dressed  in  black,  with  white 
handkerchief  and  cap.  On  the  left  of  the  stage,  near  the 
front,  a  girl  of  about  ten  is  seated,  with  a  large  doll  before 
her,  holding  up  her  fore-finger  as  if  talking.  On  the  right  a 
young  boy  is  riding  a  rocking-horse,  with  a  small  whip 
raised  above  his  head.  The  tree  is  a  spruce  or  fir  tree  :  it 


158  PARLOR    TABLEAUX. 

is  placed  at  the  left  of  the  centre  of  the  stage,  oil  a  small 
table ;  and  the  branches  hung  with  horns-of-plenty,  toysj 
books,  bags  of  candy,  candles  lighted,  and  so  forth.  A  gen- 
tleman stands  beside,  holding  out  books  and  toys  ;  and  the 
remaining  eight  children  crowd  around,  holding  out  their 
hands,  with  their  faces  half  turned  from  the  audience.  Mu- 
sic lively. 


CHRISTMAS   EVE. 

ONE   LADY  AND   A   YOUNG   GIRL. 

'Twos  the  night  before  Christmas,  when  all  through  the  house 

Not  a  creature  was  stirring,  —  not  even  a  mouse. 

The  stockings  were  hung  by  the  chimney  with  care, 

In  hopes  that  St.  Nicholas  soon  would  be  there ; 

The  children  were  nestled  all  snug  in  their  beds, 

While  visions  of  sugar-plums  danced  in  their  heads  ; 

And  mamma  in  her  kerchief,  and  I  in  my  cap, 

Had  just  settled  our  brains  for  a  long  winter's  nap  : 

When  out  on  the  lawn  there  rose  such  a  clatter, 

I  sprang  from  my  bed  to  see  what  was  the  matter. 

Away  to  the  window  I  flew  like  a  flash, 

Tore  open  the  shutters,  and  threw  up  the  sash. 

CLEMENT  C.  MOORE 


CHRISTMAS    EVE.  159 

THE  design  of  this  tableau,  though  not  adhering  strictly  to 
the  traditional  visitation  of  St.  Nicholas,  is  rather  more 
poetical  and  picturesque  than  that  described  by  the  poem 
particularly.  The  scene  represents  a  young  girl  lying  upon 

a  couch,  and  her  good  angel,  who  stands  near,  holding  out 

i 
gifts  to  her.    A  lounge,  upon  which  are  sheets,  counterpane, 

and  pillow,  should  be  placed  at  the  back  of  the  stage,  and 
curtains  looped  above  it  on  either  side.  The  young  girl, 
who  is  from  eight  to  ten  years  of  age,  lies  upon  the  lounge, 
with  her  head  towards  the  left,  and  her  face  towards  the 
audience  :  her  eyes  are  closed,  and  her  arms  lie  naturally 
upon  the  counterpane,  which  is  turned  back ;  and  she  wears 
a  white  night-dress  with  low  neck. 

The  angel  should  be  represented  by  a  young  lady  of  from 
twelve  to  sixteen  years  of  age.  She  stands  behind  the  lounge, 
at  the  foot,  with  her  face  turned  towards  the  left,  looking 
down  towards  the  sleeping  girl ;  her  profile  presented  to  the 
audience.  She  holds  in  her  hands,  which  are  extended,  a 
small  basket,  with  dolls  and  other  toys  hanging  out.  Her 
hair  should  be  combed  back  in  curls  ;  and  she  wears  a  white 
robe  without  sleeves,  and  wings  of  muslin  or  paper.  A 
blue  smoke  should  surround  the  angel.  Music  soft,  but 
lively. 


160  PARLOR   TABLEAUX. 


CHRISTMAS   MORNING. 

ONE    LADY    AND    A    YOUNG    GIRL. 

A  merry,  merry  Christmas, 
To  crown  the  closing  year  ! 
Peace  and  good-will  to  mortals, 
And  words  of  holy  cheer  ! 

What  though  the  dreary  landscape 
Be  robed  in  drifting  snow, 
If  on  the  social  hearthstone 
The  Christmas-fire  may  glow  ? 

^ 

What  though  the  wind  at  evening 
Blow  harsh  o'er  land  and  sea, 
If  eager  hands  and  joyful 
Light  up  the  Christmas-tree  ? 

Soft  falls  its  pleasing  lustre 
Upon  the  group  around,  — 
On  merry  laughing  childhood, 
And  age  with  glory  crowned. 

With  eyes  of  rapture  beaming, 
Each  little  guest  receives 
Affection's  token  gleaming 
From  out  the  shining  leaves. 


CHRISTMAS   MORNING.  161 

THIS  is  a  companion-picture  to  the  tableau  of  Christmas 
Eve,  and  should  always  be  given  in  connection  with  that, 
as  it  is  easily  produced,  and  carries  out  the  idea  of  the  first 
named  in  a  very  pleasing  manner.  The  lounge  in  this 
scene  should  be  turned  round,  so  that  the  head  is  towards 
the  right.  A  small  square  table  should  be  placed  in  front 
of  the  centre  of  the  lounge,  towards  the  audience,  upon 
which  are  placed  horns-of-plenty,  paper-boxes  gayly  colored, 
fruit,  and  toys.  The  young  girl  is  sitting  upon  the  lounge, 
her  right  arm  bent,  the  elbow  resting  on  a  pillow,  and  hold- 
ing a  doll :  her  left  arm  is  extended,  and  she  holds  in  her 
left  hand  a  stocking  upside  down,  the  contents  of  which  she 
watches  intently.  Her  face  is  towards  the  left,  presenting 
about  a  two-thirds  view  to  the  audience  ;  and  she  is  dressed 
as  in  the  previous  tableau.  The  angel  is  towards  the  foot 
of  the  lounge,  her  arms  raised  and  extended,  as  if  about  to 
fly  upwards  :  her  face  is  partially  turned  away  from  the 
girl's,  and  she  is  surrounded  with  a  thick  blue  smoke.  Mu- 
sic a  lively  waltz,  and  tinkling  of  a  small  bell. 

11 


162  PARLOR   TABLEAUX. 

JONATHAN'S    COURTSHIP. 

ONE   GENTLEMAN   AND   TWO    LADIES. 

THIS  is  a  comic  tableau,  in  two  movements,  readily  repre- 
sented, and  always  sure  to  please.  The  characters  are  a  New- 
England  mother  and  daughter,  and  her  Yankee  sweet-heart. 

The  young  lady  is  seated  in  the  centre  of  the  stage, 
in  an  ordinary  wooden  or  chip-bottomed  chair.  A  basket 
of  apples  is  placed  at  her  side,  a  plate  in  her  lap.  As  the 
curtain  rises,  she  is  discovered  in  the  act  of  peeling  an 
apple,  the  detached  skin  of  which  is  hanging  down.  She  is 
seated  looking  towards  the  right,  head  inclined  downwards  ; 
her  left  side  being  turned  towards  the  audience.  She  is 
dressed  in  a  plain  calico,  with  apron  and  shoes,  her  hair 
hanging  in  two  braids  behind,  tied  with  ribbon. 

The  young  man  should  stand  at  some  little  distance  behind 
her  chair,  holding  his  hat  in  one  hand,  the  other  extended,  his 
feet  placed  as  if  advancing ;  while  he  looks  toward  the  audi- 
ence with  a  knowing  expression,  as  if  to  show  that  he  is  about 
to  surprise  the  young  lady.  His  dress  is  a  swallow-tailed, 
blue-cloth  coat,  very  long,  with  brass  buttons  ;  yellow  vest, 


JONATHAN'S  COURTSHIP.  163 

cut  low ;  striped  trousers,  very  short ;  and  gaiter-boots,  or 
very  large  shoes.  He  should  wear  on  his  neck  a  wide, 
stand-up  collar,  and  gay  neckerchief;  on  his  head  a  wig 
of  light  sandy  hair,  combed  very  straight ;  and  should  carry 
a  white-beaver  hat  in  his  hand.  The  mother  should  be  at 
the  back  of  the  stage,  with  only  her  head  protruding  from 
the  curtains  at  the  background,  as  she  watches  the  couple 
in  the  front  with  a  menacing  expression.  The  figures  should 
remain  in  the  positions  described  for  about  twenty  seconds 
after  the  rise  of  the  curtain  ;  when  the  young  lover  should 
suddenly  step  forward,  grasp  the  young  lady,  and  kiss  her 
on  the  cheek,  stepping  back,  and  looking  down  sheepishly 
after  so  doing.  At  the  same  time,  the  young  lady  should 
drop  the  apple  and  knife,  and  rise,  with  her  finger  in  her 
mouth,  looking  down  towards  the  ground.  The  mother,  at 
the  same  time,  steps  out  from  behind,  and  raises  a  broom 
over  her  head,  and  looks  angrily  at  the  couple.  The  figures 
should  remain  in  this  position  for  the  same  length  of  time 
as  the  first  part  occupied,  when  the  curtain  should  fall. 
Music,  "  Yankee  Doodle." 


164  PARLOR   TABLEAUX. 


THE    COMING    STORM. 

ONE    LADY   AND   TWO    BOYS. 

THIS  is  a  comic  domestic  tableau,  readily  produced,  and 
always  sure  to  excite  a  great  deal  of  merriment.  The 
characters  are  an  old  lady,  and  two  boys  of  from  ten  to  four- 
teen years  of  age.  The  old  lady  is  seated  on  the  right-hand 
corner  of  the  stage,  with  her  right  arm  leaning  on  a  table 
at  her  right  side.  Her  eyes  should  be  closed,  as  if  sleeping, 
and  her  head  inclined  on  her  right  shoulder ;  while  her  left 
hand  lies  on  her  lap,  holding  her  spectacles.  She  should  be 
plainly  dressed,  with  a  checked  apron,  and  a  spotted  neck- 
kerchief  over  her  shoulders :  on  her  head  she  should  wear 
a  ruffled  cap.  One  of  the  boys  should  stand  at  her  left 
side,  a  little  behind  her.  In  his  left  hand  he  should  hold, 
close  to  her  left  ear,  a  paper-bag  blown  up ;  while  his  right 
hand  is  raised  as  if  about  to  burst  it.  He  should  stand 
gazing  at  the  old  lady  with  a  mischievous  expression.  The 
other  boy  stands  behind,  looking  over  the  left  shoulder  of 
the  first  with  an  amused  expression. 

In  about  thirty  seconds  after  the  curtain  rises,  the  boy 


THE    TORN   BREECHES.  165 

holding  the  bag  should  explode  it ;  while  the  old  lady  starts 
up  in  amazement,  dropping  her  spectacles,  and  the  boys 
look  at  each  other,  laughing,  and  pointing  at  her.  The 
curtain  should  be  dropped  quickly.  Music  lively. 


THE    TORN    BREECHES. 

ONE   LADY  AND   A   YOUNG   BOY. 

THE  characters  in  this  picture  are  an  old  lady,  and  her 
grandson  of  from  six  to  eight  years  of  age.  An  old  arm- 
chair should  be  placed  at  the  right  of  the  stage,  and  facing 
towards  the  right.  A  table  should  also  be  placed  at  the 
right  of  the  chair,  on  which  is  a  pincushion,  work-basket, 
and  so  forth.  The  old  lady  should  be  dressed  in  plain 
calico  dress,  checked  apron,  and  a  cap.  In  her  hands  she 
should  hold  a  small  pair  of  boy's  trousers,  her  right  hand 
protruding  through  a  hole  in  the  knee  ;  while  she  looks 
towards  the  boy  with  a  menacing  expression.  The  boy 
should  stand  leaning  against  the  left  arm  of  the  chair,  with 
his  back  towards  the  old  lady,  and  looking  down  towards 
the  left  with  a  sorrowful  expression.  He  should  be  partially 
dressed  in  a  gray  waistcoat,  shirt,  collar,  shoes,  and  stock- 


166  PARLOR    TABLEAUX. 

lags,  his  knees  bare,  and  his  arms  folded  behind  him. 
Another  table  may  be  placed  upon  the  stage  at  the  right- 
hand  side,  and  other  kitchen-utensils  in  the  background. 
Music  lively. 


THE    VILLAGE    BARBER. 

ONE   GENTLEMAN   AND   ONE   BOY. 

THIS  very  amusing  tableau  represents  an  old  village 
barber  in  the  act  of  using  the  shears  on  a  young  rustic 
specimen  of  about  ten  or  twelve  years  of  age.  The  old 
man  should  stand  to  the  right  of  the  centre  of  the  stage, 
with  his- left  hand  on  the  top  of  the  boy's  head,  holding  it 
back.  His  position  should  be  looking  down  towards  the 
boy,  with  his  head  inclined  towards  the  right.  He  should 
hold  the  shears  in  his  right  thumb  and  fore-finger,  with  a 
lock  of  the  boy's  hair  between  the  arms  of  the  shears.  His 
dress  should  consist  of  a  black  waistcoat,  linen  or  calico 
jacket,  high  shirt-collar,  and  long  apron  tied  round  his 
waist,  and  reaching  to  the  ground.  A  wig  with  bald  top, 
and  a  pair  of  spectacles,  will  complete  his  costume.  The 
boy  should  stand  in  front  of  the  old  barber,  to  the  left, 


HIS    ONLY    PAIR.  167 

facing  towards  the  right,  his  head  inclined  backward,  and 
making  a  wry  face,  as  if  crying.  He  should  wear  a  calico 
blouse,  and  a  long  apron  over  his  shoulders.  The  back- 
ground of  the  picture  may  represent  a  barber-shop.  Music 
lively. 


HIS   ONLY  PAIR. 

A   LADY,   A   YOUNG   GIRL,   AND   A   BOY. 

THE  scene  represented  is  a  poorly-furnished  kitchen.     In 

• 
the  centre  of  the  stage,  a  woman  is  seated  with  a  pair  of 

boy's  trousers  in  her  lap.  She  should  be  seated  so  that  her 
face  is  turned  towards  the  audience,  holding  in  her  right 
hand  a  pair  of  shears,  with  which  she  is  about  cutting  the 
trousers  in  her  left  hand.  She  should  wear  a  plain  calico 
dress,  loose  waist,  and  striped  apron.  The  boy  should  be 
seated  on  a  table  to  the  left  of  the  stage,  his  face  turned 
towards  the  right,  and  looking  down  with  a  sorrowful  ex- 
pression at  an  apple  which  he  holds  in  his  lap.  He  should 
wear  a  jacket,  collar,  and  shirt,  leaving  his  legs  bare.  A 
girl  of  about  twelve  years  of  age  should  stand  at  the  right, 
looking  over  her  mother's  shoulder,  her  face  towards  the 


168  PARLOR    TABLEAUX. 

left.  She  should  wear  a  plain  calico  dress,  and  a  broad 
scarf  or  small  shawl  over  her  shoulders,  her  feet  being  bare. 
An  old  chair  and  one  or  two  kitchen-utensils  may  be  scat- 
tered over  the  floor.  The  light  should  be  thrown  from  the 
left.  Music  soft. 


THE   ONCONVANIENCE  OF   SINGLE  LIFE. 

ONE    GENTLEMAN. 

THIS  amusing  tableau  is  from  the  well-known  picture 
representing  an  Irish  bachelor  'among  the  numerous  dis- 
comforts of  his  solitary  life.  He  should  be  seated  on  a 
bench  or  stool  in  the  centre  of  the  stage,  with  a  tattered 
coat  lying  across  his  knees.  He  should  hold  in  his  left 
hand  a  needle,  which  he  is  vainly  endeavoring  to  thread. 
His  right  eye  should  be  closed,  and  his  mouth  puckered  up 
with  the  effort  he  is  supposed  to  be  making  to  accomplish 
his  object. 

His  dress  should  be  a  long  brown  or  gray  coat,  patched 
at  the  elbows,  corduroy  trousers  with  one  leg  turned  up, 
showing  his  boot,  vest  thrown  open,  standing  collar  with 
one  side  turned  down,  and  felt-hat  with  rim  rolled  up.  He 


A   RAAL    CONVANIENCE.  169 

should  have  a  crop  wig  of  short  red  hair.  At  the  left  cor- 
ner of  the  stage,  there  should  be  a  basket  of  potatoes  over- 
turned, and  a  table  on  the  right  with  plates,  pots,  pans,  and 
other  utensils,  in  great  confusion.  Music  lively. 


A    RAAL    CONVANIENCE. 

ONE    GENTLEMAN    AND    A    LADY. 

THIS  is  a  companion  to  the  previous  tableau,  the  gen- 
tleman appearing  in  that  also  appearing  in  this  picture, 
although  he  is  supposed  to  have  changed  his  state  ;  and 
his  wife  now  appears  in  the  scene.  The  gentleman,  dressed 
in  trousers,  stockings,  and  shirt,  should  stand  to  the  right 
of  the  stage,  his  face  turned  towards  the  left,  and  looking 
down  towards  the  woman.  His  right  hand  should  be 
raised  to  his  shirt-collar,  which  is  thrown  open ;  while  in 
his  left  hand  he  holds  a  small  button  extended  towards  the 
wife.  He  should  wear  a  rather  troubled  expression  on  his 
face.  The  lady  personating  the  wife  should  be  seated  to 
the  left  of  the  centre,  a  little  farther  back  than  the  man. 
Her  head  should  be  inclined  to  the  right  as  she  looks  up 


170  PARLOR   TABLEAUX. 

towards  him,  with  a  smile  on  her  face.  In  her  hand  she 
should  hold  the  thread  ;  and  she  should  wear  a  plain  calico, 
with  a  handkerchief  on  her  head.  A  work-basket  should 
be  placed  at.  her  feet,  and  a  table  on  the  left,  with  every 
thing  arranged  in  an  orderly  manner.  Music  lively. 


THE   FLOWER   OF   THE   FAMILY. 

ONE    YOUNG    GIRL. 

THIS  is  a  comic  tableau  that  invariably  surprises  as  well 
as  interests  an  audience. 

As  the  curtain  rises,  an  empty  flour-barrel  is  discovered 
on  the  stage,  which  is  quite  dark,  with  the  word  u  Flour  " 
painted  in  large  black  letters  on  the  front.  The  curtain 
should  be  dropped  quickly,  and  the  second  part  of  the  tab- 
leau be  prepared  instantly.  Half  of  the  barrel  must  be  cut 
away,  and  the  remaining  hoops  and  staves  secured ;  and,  in 
the  second  part,  the  inner  side  of  the  half-barrel  turned  to- 
ward the  audience,  showing  a  little  girl  about  six  years  of 
age,  seated  on  a  cricket  inside  the  barrel,  and  looking  out 
demurely  towards  the  audience.  She  is  dressed  in  white 
muslin  trimmed  with  blue  ribbon,  with  a  strong  white  light 


PATIENCE    AND    IMPATIENCE.  171 

thrown  upon  her.  The  inside  of  the  barrel  should,  if  pos- 
sible, be  lined  with  some  dark  material,  as  it  will  relieve 
the  figure.  If  the  revolving  platform  is  used,  the  change 
of  the  barrel's  position  may  be  effected  without  dropping 
the  curtain, — merely  turning  up  the  lights  in  the  change. 
•  Music  lively. 


PATIENCE  AND   IMPATIENCE. 

ONE    LADY    AND    THREE     BOYS. 

THE  original  of  this  picture  is  probably  familiar  to  al- 
most everybody,  though  hardly,  perhaps,  as  a  tableau.  It 
has  however,  whenever  presented,  always  been  well  re- 
ceived and  appreciated.  A  lady  personating  an  old  grand- 
mother is  seated  in  an  arm-chair,  at  the  right  of  the 
stage.  Before  her,  a  little  boy  of  about  eight  or  ten  years 
is  standing,  holding  the  old  lady's  yarn,  which  she  is  wind- 
ing from  his  wrists.  The  old  lady's  face  is  turned  towards 
the  left,  and  she  looks  down  towards  the  boy  with  an  impa- 
tient expression.  In  one  hand  she  holds  the  ball,  and  with 
the  other  she  endeavors  to  disentangle  a  knot  in  the  yarn. 
She  should  be  plainly  dressed,  with  a  cap  upon  her  head, 


172  PARLOR   TABLEAUX. 

and  a  large  handkerchief  around  her  neck.  The  boy  is  in 
his  shirt-sleeves,  and  stands  looking  up  with  a  mournful  ex- 
pression. Two  other  boys  may  be  introduced,  who  stand 
at  the  back,  making  faces,  and  pointing  to  the  boy  holding 
the  yarn.  The  room  should  have  plain  kitchen-furniture. 


MOVING    IN. 

TWO    GENTLEMEN,   A     BOY,     THREE     LADIES,    AND    A     YOUNG 

GIRL. 

YOU  must  wake  and  call  me  early,  call  me  early,  husband  dear : 

ro-morrow'll  be  the  maddest  time  of  all  the  glad  New  Year  ; 

Of  all  the  circle  of  the  year,  the  maddest,  muddiest  day  : 

For  to-morrow's  the  first  of  May,  my  love ;  to-morrow's  the  first  of  May ! 

I  sleep  so  sound  all  night,  my  dear,  that  I  shall  never  wake 

If  you  do  not  call  me  loud  when  the  day  begins  to  break. 

But  there  arc  other  things  will  break,  I  guess,  besides  the  day : 

For  to-morrow's  the  first  of  May,  my  love ;  to-morrow's  the  first  of  May ! 

And,  oh !  tell  Bridget,  husband,  to  be  careful  how  she  moves 
The  earthenware  and  crockery,  and  other  things  she  loves ; 
And,  if  upon  the  sidewalk  you  should  hear  a  dreadful  crash, 
You'll  know  our  china  dinner-set  has  gone  to  eternal  smash. 


MOVING   IN.  173 

Of  course,  some  common  things  will  break,  some  costly  ones,  perhaps ; 
But  you  can't  expect  to  move,  you  know,  without  a  few  mishaps. 
And,  when  we've  got  the  moving  done,  you'll  have  some  bills  to  pay  : 
For  to-morrow's  the  first  of  May,  my  love ;  to-morrow's  the  first  of  May ! 

THE  unpleasant  reminiscences  of  moving  are  doubtless 
familiar  to  most  housekeepers  in  one  way  or  another.  The 
scene  here  given  is  one  that  has  or  may  have  occurred  to 
more  than  one  of  our  readers. 

The  stage  represents  an  ordinary  room,  with  chairs, 
tables,  tubs,  and  a  variety  of  furniture  of  all  kinds,  piled  in 
the  corners  and  at  the  back  of  the  stage.  There  is  a  small 
table  a  little  behind  the  centre  of  the  stage,  and  a  chair  to  the 
right  of  this  table,  with  a  smashed  bandbox,  with  the  cover 
off,  upon  the  seat.  A  lady  personating  a  servant-girl  is  seen 
upon  the  left  of  the  stage  :  she  kneels  upon  the  floor  of  the 
stage,  her  body  thrown  forward  towards  the  right,  her  hands 
grasping  a  large  picture  or  mirror  which  lies  upon  the  floor, 
and  her  face  turned  towards  the  right,  looking  up  at  the 
lady  on  the  opposite  side  with  a  terrified  expression.  She 
wears  a  striped  calico  dress  with  sleeves  rolled  up,  checked 
apron,  and  handkerchief  upon  her  head.  The  lady  of  the 
house  stands  at  the  right  of  the  stage,  near  the  front.  Her 
hands  are  raised  above  her  head  with  a  gesture  of  surprise  ; 


174  PARLOR   TABLEAUX. 

her  face  is  towards  the  left ;  and  she  looks  at  the  servant 
with  a  startled  and  angry  expression.  A  pair  of  gas- 
shades  lie  at  her  feet,  and  some  pieces  of  broken  glass  may 
be  strewn  around. 

She  wears  a  black  dress,  white  apron,  and  white  hand- 
kerchief upon  her  head,  and  should  be  represented  as  about 
forty  years  of  age. 

The  father  of  the  family  stands  to  the  left  of  the  lady, 
nearer  the  centre  :  he  carries  a  large  box  labelled  "  Cigars" 
under  his  right  arm  ;  and  in  his  left  holds  up  a  bonnet,  —  an 
old,  flattened-out  one  will  do,  —  which  he  is  supposed  to 
have  sat  upon  accidentally,  and  which  he  looks  at  with  an 
amazed  expression,  his  face  being  towards  the  left. 

He  wears  a  blue  or  drab  coat,  yellow  waistcoat,  and 
trousers  and  felt-hat.  He  should  be  represented  as  about 
forty  or  fifty  years  of  age.  A  young  lady,  the  elder  daugh- 
ter of  the  flock,  stands  at  the  left  of  the  father,  in  the  cen- 
tre of  the  stage  :  her  right  hand  is  doubled  up,  and  raised 
above  her  head  ;  and  she  carries  a  large  pasteboard  box  un- 
der her  left  arm.  Her  face  is  turned  towards  the  right, 
upon  her  father,  with  an  angry  expression. 

She  wears  a  white  skirt,  black  mantilla,  and  white  bon- 
net. A  young  girl  about  ten  or  twelve  years  of  age  stands 


MOVING    IN.  175 

at  the  left  of  the  elder  sister,  holding  a  large  doll  in  her 
right  arm,  and  a  basket,  labelled  "  Kittens"  in  large  letters,  in 
her  left.  Her  face  is  turned  towards  the  left,  looking  at 
the  servant  with  an  expression  of  surprise.  She  wears  a 
plain  blue  dress  cut  short,  and  small  shawl  over  her  shoul- 
ders. At  the  feet  of  this  young  girl,  and  in  front  of  the 
servant,  a  boy  two  years  younger  than  the  girl  is  lying 
upon  his  back,  with  his  head  towards  the  right,  and  his 
arms  extended  on  either  side  upon  the  floor :  his  face  is 
turned  upwards,  and  made  up  with  a  crying  expression.  A 
wooden  rocking-horse  or  small  wheelbarrow,  or  any  other 
similar  toy,  which  he  is  supposed  to  have  been  carrying,  is 
tipped  bottom  upwards,  and  lies  upon  his  breast.  He  should 
be  close  to  the  servant,  as  his  fall  is  supposed  to  have  been 
caused  by  a  collision  with  her  ;  and  he  should  wear  the  ordi- 
nary dress  of  boys  of  that  age. 

The  music  should  be  the  song  of  "  Sweet  Home,"  played 
very  lively,  without  regard  to  the  time  in  which  it  is 
written. 


176  PARLOR   TABLEAUX. 


MOVING  OUT. 

TWO    GENTLEMEN,  THREE   LADIES,   AND   A   YOUNG  GIRL. 

There's  many  a  finer  house,  they  say ;  but  there's  none  so  bright  as 

this: 

We've  many  a  nice  arrangement  here,  which  we  shall  sadly  miss,  — 
These  pleasant  rooms,  the  balcony,  the  trees  around  the  door  : 
When  we  moved  in  there  was  but  one  ;  we  planted  seven  more. 

The  honeysuckle  round  the  porch  has  woven  its  wavy  bowers, 
And  in  the  garden  we  have  reared  a  bright  array  of  flowers. 
But,  though  we've  loved  our  home  so  well,  we've  got  to  move  away  : 
For  to-morrow's  the  first  of  May,  my  love ;  to-morrow's  the  first  of 
May! 

Our  carpets  they  must  all  come  up,  our  pictures  all  come  down  : 
If  you'll  unscrew  the  looking-glass,  I'll  wrap  it  in  my  gown. 
The  books  I'll  leave  for  you  to  pack  ;   be  careful  they're  not  jammed  : 
The  chandelier  may  go  by  cart ;  the  globes  should  go  by  hand. 

Be  sure  and  take  the  hammer  round,  — we  shall  have  need  of  that ; 
Save  all  the  paper  you  can  find,  and  don't  forget  the  cat. 
Don't  mix  the  pickles  and  preserves,  nor  throw  the  old  brooms  away  : 
For  to-morrow's  the  first  of  May,  my  love ;   to-morrow's  the  first  of 
May! 

IT  is  the  well-known  custom  of  the  inhabitants  of  our  me- 
tropolis to  migrate  from   their  old  to  their  new  habitations 


MOVING   OUT.  177 

upon  the  first  day  of  May ;  that  is,  of  those  who  find  it 
necessary  to  remove  :  and  the  number  is  so  great  among  the 
large  population  of  that  city,  that  it  is  all  in  an  uproar  of 
confusion  annually  at  that  time.  The  scene  given  is  not  an 
exaggeration  of  many  that  have  occurred  under  the  circum- 
stances. 

The  stage  represents  an  ordinary  room,  with  tables, 
chairs,  and  other  furniture,  placed  in  a  heap  in  the  corners, 
or  tied  round  with  cords  :  at  the  back  of  the  stage,  an  empty 
flour-barrel  is  placed,  with  the  head  taken  off.  A  lady  rep- 
resenting the  mother  of  the  family  stands  at  the  left  of  the 
stage,  and  facing  towards  the  left.  She  holds  in  her  right 
hand  a  pair  of  gas-shades  :  her  left  arm  is  piled  up  with  arti- 
cles of  glass-ware,  dishes,  and  so  forth.  She  wears  a  black 
dress,  white  apron,  and  white  handkerchief,  and  should  be 
represented  as  about  forty  years  of  age.  A  lady  personat- 
ing the  servant  stands  behind  the  first  lady  mentioned, 
towards  the  right :  her  body  is  facing  towards  the  left ;  her 
head  turned  half  way  towards  the  front,  with  an  angry  ex- 
pression upon  her  face.  She  carries  in  her  left  hand  a  valise 
stuffed  full,  and  in  her  right  a  pail :  her  hands  with  these 
utensils  are  raised  to  the  height  of  her  waist,  supporting  a 
large  looking-glass  or  picture  which  rests  upon  her.  She 
12 


178  PARLOR   TABLEAUX. 

wears  a  striped  calico  dress,  checked  apron,  and  handker- 
chief around  her  head. 

A  young  girl  about  ten  or  twelve  years  of  age  stands  be- 
hind the  servant :  her  body  is  facing  towards  the  left ;  her 
head  turned  halfway  towards  the  right,  with  a  bewildered 
expression  upon  her  face.  She  carries  in  her  left  hand  a 
basket  labelled  "  Kittens,"  and  in  her  right  a  large  doll  and 
other  articles.  She  wears  a  blue  dress  cut  short,  with 
white  apron.  A  young  lady,  the  elder  sister  of  the  one  just 
described,  stands  behind  the  young  girl,  near  the  right  of 
the  stage.  She  is  facing  towards  the  audience,  with  a  dis- 
mayed expression  upon  her  face.  She  carries  in  either  hand 
a  set  of  three  paper  bandboxes  tied  together,  and  a  pile 
of  three  or  four  more  resting  on  these  sets,  and  piled  on 
top  perpendicularly,  almost  obscuring  her  head  from  the 
audience :  her  arms  are  held  as  close  as  possible  to  the  pile 
endeavoring  to  support  it.  She  wears  a  white-muslin  dress, 
black  mantilla,  and  white  bonnet.  A  boy  about  eight  or 
ten  years  of  age  brings  up  the  rear  of  this  pile.  He  is  on  the 
extreme  right,  facing  towards  the  left,  and  carrying  in  his 
right  hand  a  bandbox,  which  is  raised  above  his  head, 
towards  the  pile  of  bandboxes  carried  by  his  sister ;  and  in 
his  left  he  drags  a  wooden  rocking-horse  or  small  wheel- 
barrow. 


KING   LEAR.  179 

At  the  back  of  the  stage,  the  gentleman  personating  the 
father  is  seen,  with  his  right  leg  in  the  barrel  placed  there, 
his  left  hanging  outside,  holding  a  hammer  in  his  right 
hand,  and,  with  both  hands  raised  above  his  head,  support- 
ing a  picture-frame  by  the  corner,  which  is  supposed  to 
have  fallen  with  him :  his  mouth  is  open,  as  if  uttering  an 
expression  of  pain.  He  wears  a  blue  coat,  yellow  trousers 
and  waiscoat,  and  bald  wig.  This  tableau  may  be  given 
in  connection  with  Moving  In,  and  previous  to  that,  or  sepa- 
rately, as  both  are  described  in  detail ;  though,  as  they  are 
so  simply  produced,  it  would  add  to  the  interest  to  represent 
them  as  a  series.  Music,  "  Jeannette  and  Jeannot." 


KING   LEAR. 

FIVE     GENTLEMEN. 

Lear.  Let  the  great  gods, 

That  keep  this  dreadful  pother  o'er  our  heads, 
Find  out  their  enemies  now !     Tremble,  thou  wretch, 
That  hast  within  tliee  undivulged  crimes 
Unwhipt  of  justice  !     Hide  thee,  thou  bloody  hand ! 
Thou  perjured,  and  thou  simular  man  of  virtue, 
Thou  art  incestuous  !     Caitiff,  to  pieces  shake, 


180  PARLOR   TABLEAUX. 

That,  under  covert  and  convenient  seeming, 
Has  practised  on  man's  life  !     Close  pent-up  guilts, 
Rive  your  concealing  continents,  and  cry 
These  dreadful  summoners  grace  !    I  am  a  man, 
More  sinned  against  than  sinning. 

Kent.  Alack,  bare-headed ! 

Gracious  my  lord,  hard  by  here  is  a  hovel : 
Some  friendship  will  it  lend  you  'gainst  the  tempest. 
Repose  you  there,  while  I  to  this  hard  house 
(More  hard  than  is  the  stone  whereof  'tis  raised; 
Which  even  but  now,  demanding  after  you, 
Denied  me  to  come  in)  return,  and  force 
Their  scanty  courtesy.  [Enter  GLOSTER  with  a  torch. 

Lear.      What's  he  ? 

Kent.      Who's  there  ?     What  is't  you  seek  ? 

Gloster.  What !  are  you  there  1     Your  names  ? 

Edgar.  Poor  Tom ;  that  eats  the  swimming  frog,  the  toad,  the  tad- 
pole, the  wall  newt  and  the  water ;  who  is  whipped  from  tithing  to 
tithing,  and  stocked,  punished,  and  imprisoned ;  who  hath  had  three 
suits  to  his  back,  six  shirts  to  his  body,  horse  to  ride,  and  weapon  to 
wear. 

Glos.    What !  hath  your  grace  no  better  company  ? 

Lear.     Oh,  cry  you  mercy ! 
Noble  philosopher,  your  company. 

SHAKSPEARE. 

THIS  very  effective  tableau  from  Shakspeare's  great 
tragedy  represents  King  Lear,  after  he  has  left  Goneril  his 
daughter,  wandering,  exposed  to  the  furies  of  a  raging 
storm  in  a  desolate  heath.  He  is  sought  out  here  by  Kent, 


KING    LEAR.  181 

a  faithful  friend,  who,  disguised  as  a  servant,  offers  him 
shelter ;  and  by  the  Duke  of  Gloster,  who,  though  friendly 
to  his  daughter,  takes  pity  on  the  old  man,  and  persuades 
him  to  seek  shelter.  The  other  characters  are  the  court 
jester  who  attends  Lear,  and  Edgar,  son  of  the  Duke  of 
Gloster,  whom  he  has  offended,  and  from  whom  he  is  en- 
deavoring to  escape,  disguised  as  a  madman,  cloched  but 
scantily  in  blankets.  The  scene  opens  where  Lear,  meeting 
Edgar  nearly  naked,  proceeds  to  tear  off  his  own  robes, 
and  offer  them  to  Edgar.  The  gentleman  representing 
Lear  stands  in  the  centre  of  the  stage,  near  the  front.  His 
right  foot  is  advanced  forward,  his  left  extended  behind. 
His  right  arm  is  raised,  extended  upwards  towards  the 
right,  grasping  one  end  of  his  drapery,  which  he  is  endeav- 
oring to  throw  off:  his  left  grasps  the  drapery  upon  his 
bosom.  His  face  is  turned  towards  the  right,  looking  up 
with  a  fierce  expression.  He  wears  a  skirt  of  crimson 
trailing  behind  ;  a  white  drapery  thrown  over  his  shoulders 
and  upper  part  of  his  body,  showing  the  neck.  He  should 
have  straight  and  rather  prominent  features,  with  gray  wig, 
and  beard  very  much  disordered.  Gloster  stands  on  the 
right  of  the  stage.  He  holds  above  his  head,  in  his  right 
hand,  a  burning  torch  :  his  left  is  extended  towards  Lear  with 


182  PARLOR   TABLEAUX. 

a  gesture  of  entreaty ;  and  his  face  is  turned  towards  the 
left,  looking  upon  Lear  with  an  anxious  expression.  He 
wears  a  suit  of  armor,  with  a  crimson  mantle  thrown  over 
and  almost  covering  it.  He  should  be  made  up  old,  but  not 
as  old  as  Lear.  Kent  kneels  upon  the  floor  of  the  stage,  a 
little  to  the  left  of  Gloster,  with  his  left  hand  upon  his  knee, 
and  his  right  extended  towards  Edgar,  who  is  at  the  left  of 
the  stage  ;  and  his  face  is  turned  towards  the  left,  looking  at 
Edgar.  He  wears  a  livery  suit  of  light-brown,  dark-brown 
mantle,  and  helmet.  He  should  also  wear  gray  wig  and 
short  beard.  Edgar  is  at  the  extreme  left  of  the  stage.  He 
is  seated  upon  the  floor,  with  his  knees  drawn  up,  his  elbow 
resting  upon  his  knees,  and  his  chin  upon  his  right  hand. 
His  face  is  turned  towards  the  right,  looking  at  Gloster,  as 
if  fearing  recognition.  He  is  dressed  in  blankets,  arranged 
so  as  to  show  the  arms  bare,  and  the  legs  below  the  knees, 
with  flesh  stockings,  and  long  black  wig ;  hair  tied  in 
horns  in  front,  or  with  feathers  on  the  head.  The  jester 
stands  at  the  left  side  of  Lear,  with  his  left  hand  on  Lear's 
left  arm,  his  right  hand  on  Lear's  right  shoulder,  his  face 
towards  the  right,  looking  over  Lear's  left  shoulder  at 
Gloster.  He  wears  a  blue  cone-shaped  cap,  salmon-col- 
ored waist  and  trunks,  flesh  stockings,  shoes,  and  blue  man- 


TRIAL-SCENE    FROM   THE    MERCHANT    OF    VENICE.       183 

tie  over  his  shoulders.  The  noise  of  a  storm  should  be 
heard  outside,  flashes  of  red  and  blue  light  should  be  thrown 
upon  the  group,  and  streaks  of  lightning  may  be  made  upon 
the  curtain  behind. 


TRIAL-SCENE   FROM   THE   MERCHANT   OF 
VENICE. 

TEN    GENTLEMEN    AND   TWO    LADIES. 

Shylock.  Most  learned  judge!     A  sentence:  come,  prepare. 

Portia.  Tarry  a  little  :  there  is  something  else. 
This  bond  doth  give  thee  here  no  jot  of  blood : 
The  words  expressly  are  a  pound  of  flesh. 
Take,  then,  thy  bond ;  take  thou  thy  pound  of  flesh : 
But,  in  the  cutting  it,  if  thou  dost  shed 
One  drop  of  Christian  blood,  thy  lands  and  goods 
Are,  by  the  laws  of  Venice,  confiscate 
Unto  the  state  of  Venice. 

Gratiano.  O  upright  judge  !  — mark,  Jew,  —  0  learned  judge ! 

Shy.    Is  that  the  law  ? 

For.    Thyself  shall  see  the  act  ; 
For,  as  thou  urgest  justice,  be  assured 
Thou  shalt  have  justice  more  than  thou  desir'st. 

Gra.  0  learned  judge  !  — mark,  Jew,  —  a  learned  judge  ! 

Shy.  I  take  this  offer,  then  :  pay  the  bond  thrice, 
And  let  the  Christian  go. 


184  PARLOR   TABLEAUX. 

Bassanio.  Here  is  the  money. 

For.  Soft! 

The  Jew  shall  have  all  justice  :  soft !  no  haste  : 
He  shall  have  nothing  but  the  penalty. 

Gra.  O  Jew !  an  upright  judge,  a  learned  judge. 

Por.    Therefore  prepare  to  cut  off  the  flesh. 
Shed  thou  no  blood ;  nor  cut  thou  less,  nor  more, 
But  just  a  pound  of  flesh  :  if  thou  tak'st  more 
Or  less  than  a  just  pound,  —  be  it  but  so  much 
As  makes  it  light  or  heavy  in  the  substance, 
Or  the  division  of  the  twentieth  part 
Of  one  poor  scruple  ;  nay,  if  the  scale  do  turn 
But  in  the  estimation  of  a  hair,  — 
Thou  diest,  and  all  thy  goods  are  confiscate. 

MERCHANT  OF  VENICE. 

THIS  scene,  from  Shakspeare's  celebrated  play,  forms  one 
of  the  most  striking  stage  tableaux  that  has  ever  been  pre- 
sented. The  characters  are  Shylock,  the  Jew  ;  Antonio,  the 
Merchant  of  Venice  ;  the  Doge  of  Venice  ;  Bassanio  and 
Gratiano,  friends  of  Antonio  ;  Portia,  betrothed  to  Bassauio  ; 
Nerissa,  her  maid ;  and  the  attendants  of  the  doge.  Anto- 
nio, being  unable  to  pay  a  debt  to  Shylock  of  three  thousand 
ducats,  forfeits  to  him,  by  the  bond  between  them,  a  pound 
of  flesh.  Portia,  who  is  interested  in  Antonio's  behalf  for 
Bassanio's  sake,  appears  before  the  doge  on  the  day  of  trial, 
hi  lawyer's  attire,  to  defend  Antonio.  She  awards  the  Jew 


TEIAL-SCENE    FROM   THE    MERCHANT   OF   VENICE.       185 

the  forfeit  of  the  flesh,  but  denies  him  one  drop  of  blood : 
and  the  scene  represents  Shylock,  baffled  of  his  sanguinary 
object,  offering  to  release  the  Christian  by  the  payment  of 
three  times  the  amount  originally  loaned ;  which  demand 
Portia  refuses. 

The  tableau  cannot  be  represented  very  well  upon  a  small 
stage,  as  the  scene  is  intended  to  represent  a  large  council- 
chamber.  A  large  throne-shaped  chair,  with  arms,  should 
be  placed  upon  the  right  of  the  stage,  resting  upon  a  low 
flight  of  steps,  covered  with  green  or  crimson.  A  narrow 
table  is  placed  a  little  to  the  right  of  the  centre  of  the  stage, 
covered  with  crimson  cloth,  with  the  end  towards  the  audi- 
ence. A  large  book,  supported  on  a  pile  of  books  placed 
under  it,  is  at  the  end  of  the  table  nearest  the  front.  Por- 
tia stands  at  the  left  side  of  the  table,  at  the  end  nearest  the 
audience  ;  the  forefinger  of  her  right  hand  pointing  towards 
the  page  of  the  book,  her  left  hand  extended,  holding  a 
scroll,  unrolled.  Her  face  is  turned  half  way  towards  the 
left,  as  she  looks  towards  Shylock  with  a  commanding  ex- 
pression. She  wears  a  long,  black,  flowing  robe,  with  dra- 
pery-sleeves, white  neck-tie,  black-velvet  cap,  and  hair 
combed  under  in  a  roll  behind,  or  with  a  wig  over  it :  she 
should  be  tall,  and  of  straight  features.  Shylock  stands  at 


186  PARLOR   TABLEAUX. 

the  left  of  the  stage,  near  the  front.  He  holds  in  his  right 
hand  a  long-pointed  sheath-knife  against  his  breast,  pointing 
downward  ;  and  in  his  left  a  pair  of  scales  (a  straight  piece 
of  wood  painted,  with  two  small  plates  hanging  from  either 
end,  will  answer).  His  face  is  towards  the  right,  looking 
out  towards  the  audience  with  a  disappointed  but  malicious 
expression.  He  wears  a  long  brown  gaberdine  trimmed 
with  black,  broad  white  collar,  gray  wig  with  long  hair  and 
bald  front,  and  pointed  gray  beard.  His  features  should  be 
straight  and  prominent,  and  he  is  made  up  with  dark  lines 
of  age. 

Bassanio  stands  at  the  right  side  of  the  table,  at  the  end 
nearest  the  audience,  his  right  hand  extended  towards  the 
Jew,  holding  a  bag  supposed  to  contain  gold ;  while  his  left 
hand  rests  on  the  table,  upon  which  are  several  other  bags 
of  gold.  His  face  is  towards  the  left,  as  he  looks  at  Portia 
with  an  attentive  expression.  He  wears  a  salmon-colored 
tunic,  red  tights,  crimson  cape  lined  with  white,  sword-belt, 
sword,  and  buckle-shoes.  He  should  be  of  dark  complexion, 
with  black  mustache  and  imperial.  Antonio  stands  beside 
the  table,  directly  behind  Bassanio.  His  hands  are  tied  be- 
hind him,  his  face  turned  towards  the  left,  looking  towards 
Shylock  with  an  anxious  expression.  His  face  is  very  pale, 


TRIAL-SCENE    FROM   THE  "MERCHANT   OF    VENICE.        187 

and  he  wears  an  iron-gray  wig  and  chin- whiskers.  His  cos- 
tume is  a  black-velvet  tunic  and  cloak,  black  stockings  and 
gaiters :  his  tunic  is  thrown  open  at  the  neck,  showing  the 
breast  bare.  Gratiano  stands  directly  behind  Antonio,  with 
his  right  hand  extended  towards  Shylock,  his  left  resting 
upon  Nerissa's  shoulder,  who  stands  at  his  left ;  while  his 
head  is  inclined  forward,  as  he  looks  at  the  Jew,  smiling 
with  an  exulting  expression  upon  his  face.  He  wears  a 
buff-colored  tunic,  light-purple  cape,  flesh-colored  tights, 
sword-belt,  sword,  and  gaiters.  He  should  be  represented 
as  rather  younger  than  Bassanio,  with  mustache  and  small 
imperial.  Nerissa  leans  against  the  lower  end  of  the  table, 
near  the  back  of  the  stage  ;  her  elbows  resting  upon  a  book 
lying  there,  and  her  face  turned  towards  Portia  with  a  con- 
fident expression.  She  wears  a  long  brown  robe  with  drape- 
ry-sleeves, white  neck-tie,  cap,  and  hair  in  the  same  style 
as  Portia's.  The  doge  is  seated  at  the  right  of  the  stage, 
upon  the  throne  placed  upon  the  steps.  His  head  is  inclined 
forward,  leaning  upon  his  left  hand  :  his  right  hand  is  upon 
the  right  arm  of  the  chair,  as  he  looks  towards  Portia  and 
Shylock  with  an  earnest  expression.  His  costume  is  a  long 
scarlet  or  crimson  robe,  ermine  cape,  gold  coronet,  with 
crimson  hood  hanging  over  the  back  of  the  head,  white  wig 


188  PARLOR  TABLEAUX. 

and  beard.  Upon  the  right  of  the  steps,  a  young  man  is 
seated  at  a  small  table  covered  with  crimson  cloth,  upon 
which  are  ink  and  papers,  with  a  pen  in  his  right  hand, 
looking  towards  the  Jew.  He  wears  a  black-velvet  tunic 
and  cape,  or  a  long  black  robe.  A  gentleman  dressed  as  a 
soldier,  in  full  armor  and  helmet,  is  seated  at  the  left  of  the 
steps,  with  a  long-handled  axe  in  his  right  hand,  resting 
upon  the  floor.  The  remaining  gentlemen  should  stand  at 
the  back  of  the  stage,  on  the  left.  They  are  dressed  as  sol- 
diers, or  similarly  to  Bassanio :  they  stand  as  if  conversing, 
looking  towards  the  group  at  the  front,  and  pointing  to  Shy- 
lock  and  Antonio.  The  tableau  should  be  brightly  lighted, 
and  the  music  of  a  solemn  character. 


SCENE   FROM   PERICLES. 

ONE   GENTLEMAN   AND   TWO   LADIES. 

Marina.  Sir,  I  will  use 

My  utmost  skill  in  his  recovery, 
Provided  none  but  I  and  my  companion 
Be  suffered  to  come  near  him. 

Lijsimachiis.  Come,  let  us  leave  her ; 

And  the  gods  make  her  prosperous  !  [MARINA  sings. 


SCENE    FROM    PERICLES.  189 

Lysimachus.  Marked  he  your  music  ? 

Marina.  No,  nor  looked  on  us. 

Lys.  See !  she  will  speak  to  him. 

Mar.  Hail,  sir !     My  lord,  lend  ear. 

Pericles.  Hum  !  ha ! 

Mar.  I  am  a  maid, 

My  lord,  that  ne'er  before  invited  eyes, 
But  have  been  gazed  on  comet-like.     She  speaks, 
My  lord,  that  maybe  hath  endured  a  grief 
Might  equal  yours,  if  both  were  justly  weighed. 
Though  wayward  Fortune  did  malign  my  state, 
My  derivation  was  from  ancestors 
Who  stood  equivalent  with  mighty  kings ; 
But  time  hath  rooted  out  my  parentage, 
And  to  the  world  and  awkward  casualties 
Bound  me  in  servitude. 

Pericles.  My  fortunes,  parentage,  good  parentage,  — 
To  equal  mine !  —  was  it  not  thus  1     What  say  you  ? 

Mar.  I  said,  my  lord,  if  you  did  know  my  parentage, 
You  would  not  do  me  violence. 

Pericles.  I  do  think  so. 

I  pray  you,  turn  your  eyes  again  upon  me. 
You  are  like  something  that  —    What  countrywoman  ? 
Here,  of  these  shores  1 

PERICLES,  act  v.  scene  1. 

THIS  picture  represents  the  scene  from  Shakspeare's  play 
of  "  Pericles,"  where  Marina  his  daughter,  escaped  from 
Cleon,  comes  to  the  vessel  of  Pericles,  and  rouses  him  from 
his  despondency  by  declaring  her  relationship.  Upon  the 


190  PARLOR   TABLEAUX. 

left  of  the  stage,  near  the  back,  a  lounge  covered  with  crim- 
son should  be  placed,  with  a  small  footstool  of  the  same 
color  in  front  of  it.  Pericles  should  be  represented  as  be- 
tween forty  and  fifty  years  of  age.  He  lies  upon  the  lounge, 
with  his  face  downwards,  and  head  towards  the  left,  in  the 
act  of  raising  himself  upon  his  arms,  which  are  braced 
against  the  lounge.  The  right  side  of  his  face  is  towards 
the  audience,  with  an  expression  of  grief;  and  his  hair  is 
combed  carelessly.  He  is  almost  entirely  covered  by  a  large 
black  cloth  or  mantle,  which  extends  over  his  left  arm, 
head,  and  the  remainder  of  his  body,  with  the  exception  of 
his  right  arm,  which  is  left  bare  to  the  elbow. 

Marina  should  be  personated  by  a  young  lady  of  eighteen 
or  twenty  years  of  age,  of  clear  complexion  and  straight 
features.  She  stands  at  the  right  of  Pericles,  beside  the 
lounge,  her  left  hand  raised  to  the  height  of  the  forehead, 
and  holding  a  small  harp,  which  may  be  made  of  paste- 
board, cut  out  in  an  appropriate  shape,  with  strings  of  cord  ; 
her  left  arm  is  extended  across  the  waist,  her  fingers  touch- 
ing the  strings  of  the  harp  ;  the  right  side  of  her  face  is 
turned  towards  the  audience,  her  head  towards  the  left, 
looking  down  upon  the  face  of  Pericles  ;  her  left  knee  is  bent, 
the  foot  resting  on  the  footstool  in  front  of  the  lounge.  She 


ROMEO   AND   JULIET.  191 

wears  a  long  white-muslin  robe,  tied  round  with  a  blue  rib- 
bon a  few  inches  below  the  waist»  low  neck,  and  short  wing- 
sleeves,  and  gold  bands  round  her  hair.  A  young  lady  of 
about  the  same  age  stands  behind  her,  with  her  left  arm 
round  her  waist,  her  right  touching  Marina's  dress  behind, 
and  her  head  leaning  on  her  right  shoulder.  She  wears  a 
plain  blue  flowing  robe  with  wing-sleeves,  and  a  single 
band  upon  her  hair :  her  face  is  towards  the  left.  Music 
very  soft.  Light  thrown  upon  the  ladies,  and  shading  the 
gentleman. 


ROMEO   AND  JULIET. 

ONE  GENTLEMAN  AND  ONE  LADY. 

Juliet.  Wilt  them  be  gone  ?    It  is  not  yet  near  day. 
It  was  the  nightingale,  and  not  the  lark, 
That  pierced  the  fearful  hollow  of  thine  ear : 
Nightly  she  sings  on  yon  pomegranate-tree. 
Believe  me,  love,  it  was  the  nightingale. 

Romeo.  It  was  the  lark,  the  herald  of  the  morn ; 
No  nightingale.     Look,  love,  what  envious  streaks 
Do  lace  the  severing  clouds  in  yonder  east ! 
Night's  candles  are  burnt  out,  and  jocund  day 
Stands  tip-toe  on  the  misty  mountain-tops  : 
I  must  be  gone  and  live,  or  stay  and  die. 


192  PARLOR   TABLEAUX. 

Juliet.  Yon  light  is  not  daylight ;  I  know  it,  I : 
It  is  some  meteor  that  the  sun  exhales, 
To  be  to  thee  this  night  a  torch-bearer, 
And  light  thee  on  the  way  to  Mantua. 
Therefore  stay  yet :  thou  need'st  not  to  be  gone. 

Romeo.  Let  me  be  ta'en,  let  me  be  put  to  death  : 
I  am  content,  so  thou  wilt  have  it  so. 
I'll  say  yon  gray  is  not  the  morning's  eye : 
'Tis  but  the  pale  reflex  of  Cynthia's  brow ! 
Nor  that  is  not  the  lark,  whose  notes  do  beat 
The  vaulty  heaven  so  high  above  our  heads. 
I  have  more  care  to  stay  than  will  to  go. 
Come,  death,  and  welcome !  Juliet  wills  it  so. 
How  is't,  my  soul  ?    Let's  talk  :  it  is  not  day. 

Juliet.  Oh !  think'st  thou  we  shall  ever  meet  again  ? 

Romeo.  I  doubt  it  not ;  and  all  these  words  shall  serve 
For  sweet  discourses  in  our  time  to  come. 

ROMEO  AND  JULIET,  act  Hi.  scene  5. 

THIS  scene  represents  the  parting  of  Romeo  with  Juliet 
in  her  chamber,  whither  he  has  returned  for  a  few  hours 
from  his  banishment  at  Mantua.  He  is  ready  to  stay  with 
Juliet  at  the  risk  of  his  life ;  but,  as  the  day  dawns,  she 
urges  him  to  go,  and  they  separate,  never  to  meet  agajn, —  he 
with  cheerful  hopes  of  the  future,  she  with  painful  misgiv- 
ings of  their  fate.  The  stage  represents  a  nicely-furnished 
room,  with  a  small  table  and  chair  at  the  left  side,  near  the 
front,  a  large  arm-chair  on  the  right,  and  small  stand,  with 


ROMEO    AND    JULIET.  193 

vase  of  flowers  upon  it.  Romeo  stands  at  the  right  of  the 
centre  of  the  stage,  his  face  towards  the  audience,  his  body 
turned  about  one-fourth  of  the  way  towards  the  left :  his 
arms  are  around  Juliet's  waist ;  and  he  stands,  not  close  to 
her,  but  as  if  about  to  turn  away.  He  wears  a  tunic  of 
crimson  velvet  trimmed  with  gold,  and  with  wide  drapery- 
sleeves,  sword-belt  and  sword,  hat  with  white  feather,  lace 
collar,  white  tights,  and  shoes  cut  low,  or  gaiters.  He 
should  be  of  dark  complexion,  with  dark  curly  hair  and 
handsome  features  ;  his  face  wearing  a  smiling,  confident  ex- 
pression, as  he  looks  towards  Juliet.  Juliet  stands  at  the 
left  of  Romeo,  her  left  hand  resting  on  his  right  shoulder ; 
her  right  grasping  his  left  arm,  as  if  endeavoring  to  detain 
him :  her  face  is  turned  upward  towards  him  with  an 
anxious,  entreating  expression,  the  left  side  of  her  face 
being  towards  the  audience.  She  wears  a  white-silk  dress, 
trailing  behind,  with  low  neck,  and  puffed  sleeves  reaching 
below  the  elbow,  lace  under-sleeves  and  sash,  necklace  of 
large  pearl  beads,  and  strands  of  pearl  beads  upon  her  head. 
She  should  be  of  light  complexion,  with  hair  in  curls  be- 
hind. A  white  light  should  be  thrown  from  the  right  of  the 
stage,  rather  dim,  as  the  curtain  rises,  but  growing  gradu- 

13 


194  PARLOR  TABLEAUX. 

ally  brighter   until   its   fall.      Music,  the    love-duet  from 
"  Faust,"  or  some  similar  piece,  played  very  softly. 


TOMB-SCENE    FROM    ROMEO   AND   JULIET. 

TWO  GENTLEMEN  AND  ONE  LADY. 

Friar  Laurence.  Romeo  !  [Advances. 

Alack,  alack  !  what  blood  is  this  which  stains 
The  stony  entrance  of  this  sepulchre  ? 
What  mean  these  masterless  and  gory  swords 
To  lie  discolored  by  this  place  of  peace  ? 

[Enters  the  mpnument. 

Romeo !    Oh,  pale !    Who  else  ?    What !  Paris,  too  ? 
And  steeped  in  blood  ?    Ah,  what  an  unkind  hour 
Is  guilty  of  this  lamentable  chance  ! 
The  lady  stirs.  f  JULIET  wakes  and  stirs. 

Juliet.  O  comfortable  friar !  where  is  my  lord  ? 
I  do  remember  well  where  I  should  be, 
And  there  I  am.     Where  is  my  Romeo  ?  .   [Noise  within. 

Friar.  I  hear  some  noise.    Lady,  come  from  that  nest 
Of  death,  contagion,  and  unnatural  sleep. 
A  greater  Power  than  we  can  contradict 
Hath  thwarted  our  intents  :  come,  come  away. 
Thy  husband  in  thy  bosom  there  lies  dead, 
And  Paris  too.    Come,  I'll  dispose  of  thee 
Among  a  sisterhood  of  holy  nuns. 


ROMEO   AND   JULIET.  195 

Stay  not  to  question ;  for  the  watch  is  coming. 

Come,  go,  good  Juliet.      [Noise  again.]   I  dare  stay  no  longer.      [Exit. 

Juliet.  Go,  get  thee  hence ;  for  I  will  not  away. 
What's  here  1    A  cup,  closed  in  my  true  love's  hand  ? 
Poison,  I  see,  hath  been  his  timeless  end. 
O  churl !  drink  all,  and  leave  no  friendly  drop 
To  help  me  after  ?     I  will  kiss  thy  lips  : 
Haply  some  poison  doth  yet  hang  on  them 

To  make  me  die  with  a  restorative.  [Kisses  him. 

[Noise  without.]     Yea,  noise  ?     Then  I'll  be  brief.     0  happy  dagger  ! 

[Snatching  ROMEO'S  dagger. 
This  is  thy  sheath  :  [stabs  herself]  there  rust,  and  let  me  die ! 

[Falls  on  ROMEO'S  body,  and  dies. 
ROMEO  AND  JULIET,  act  v.  scene  3. 

THE  narrative  of  the  portion  of  Shakspeare's  play  intro- 
ducing this  scene  is,  that  Juliet,  a  young  and  beautiful  lady 
of  Verona,  having  been  secretly  married  to  an  enemy  of 
her  father's  house,  named  Romeo,  who  is  banished  for  kill- 
ing a  friend  in  a  duel,  is  instructed,  by  a  friendly  friar,  of  a 
way  to  rejoin  her  husband ;  namely,  by  taking  a  certain 
drug,  which  would  cause  her  to  appear  as  dead  for  two  days  : 
she  would  be  carried  to  the  tomb,  and  awake  at  the  end  of 
that  time  to  find  her  husband  ready  to  bear  her  away. 
Through  some  inadvertence,  Romeo  is  not  informed  of  this 
plot  by  the  friar,  and,  hearing  that  Juliet  is  dead,  hastens  to 
her  tomb,  there  to  die.  He  finds  Paris,  also  a  lover  of 


196  PARLOR   TABLEAUX. 

Juliet,  by  her  tomb ;  and  a  duel  ensues,  in  which  Paris  is 
killed,  and  Romeo  commits  suicide  by  taking  poison,  and 
falls  upon  the  ground  in  front  of  the  tomb.  Juliet  awakes, 
and,  being  told  by  Friar  Laurence  of  Romeo's  death,  refuses 
to  go  with  the  friar,  but  kills  herself  with  Romeo's  dagger. 
The  scene  given  represents  Juliet  as  she  awakes  in  the 
tomb.  At  the  back  of  the  stage,  a  small  platform,  or  box, 
about  five  feet  long  by  two  feet  high,  should  be  placed  ;  the 
side  towards  the  front  painted  in  imitation  of  stone,  or 
covered  with  drab  cambric.  A  set  of  curtains  should  be 
hung  so  as  to  close  in  the  space  on  the  sides  behind  the 
box,  leaving  a  square  opening  about  four  feet  wide  in  the 
centre. 

The  top  of  the  platform,  or  box,  should  be  covered  with 
black  cloth  or  cambric.  Juliet  is  seated  upon  the  centre  of 
the  platform,  her  lower  limbs  extended  towards  the  left, 
her  face  looking  in  the  same  direction,  at  Friar  Laurence, 
who  stands  beside  the  tomb,  with  a  terrified  expression 
upon  her  face.  Her  right  arm  is  raised,  extended  toward 
the  right,  holding  the  veil,  which  she  is  throwing  off  her 
head ;  and  her  left  arm  is  extended  towards  the  friar,  who 
stands  at  the  left.  She  wears  a  white  silk  or  satin  dress, 
with  low  neck  and  long  sleeves,  necklace  of  pearl  beads, 


ROMEO   AND   JULIET.  197 

and  long  white-lace  veil  extending  over  her  shoulders  and 
arms,  and  held  up  in  her  right  hand.  Romeo  lies  upon  the 
floor  of  the  stage,  in  front  of  the  centre  of  the  small  plat- 
form, with  his  feet  towards  the  right,  his  face  turned  up- 
wards, very  pale,  and  with  eyes  closed  ;  his  left  hand  lying 
upon  his  breast,  and  right  arm  at  his  side.  He  wears  a 
crimson  or  white  waist  and  trunks,  and  crimson  mantle, 
lace  collar  and  cuffs. 

Friar  Laurence  stands  beside  Juliet,  about  two  feet  from 
the  centre  of  the  platform,  on  the  left.  He  holds  a  spade, 
leaning  against  the  floor,  in  his  left  hand ;  and  his  right  is 
raised  above  his  head,  holding  a  dark  lantern,  the  rays  of 
which  fall  full  upon  Juliet's  face.  The  left  side  of  his  face 
is  towards  the  audience  ;  and  he  wears  a  long  black  robe, 
with  hood  thrown  back,  and  tied  around  the  waist  with  a 
string  of  beads  and  wooden  cross  attached,  and  white  wig 
with  cowl,  or  bald.  The  stage  should  be  dark,  with  the  ex- 
ception of  the  light  from  the  lantern  ;  and  the  music  should 
be  very  solemn. 


198  PARLOR   TABLEAUX. 


SCENE  FROM   THE   TEMPEST. 

TWO  GENTLEMEN  AND  ONE  LADY. 

Miranda.  If  by  your  art,  my  dearest  father,  you  have 
Put  the  wild  waters  in  this  roar,  allay  them. 
The  sky,  it  seems,  would  pour  down  stinking  pitch, 
But  that  the  sea,  mounting  to  the  welkin's  cheek, 
Dashes  the  fire  out.     Oh  !  I  have  suffered 
With  those  I  saw  suffer,  —  a  brave  vessel, 
Who  had  no  doubt  some  noble  creatures  in  her, 
Dashed  all  to  pieces.     Oh !  the  cry  did  knock 
Against  my  very  heart.     Poor  souls  !  they  perished. 
Had  I  been  any  god  of  power,  I  would 
Have  sunk  the  sea  within  the  earth,  or  e'er 
It  should  the  good  ship  so  have  swallowed,  and 
The  freighting  souls  within  her. 

Prospero.  Be  collected ; 

No  more  amazement :  tell  your  piteous  heart 
There's  no  harm  done. 

Miranda.    Heavens  thank  you  for't !    And  now  I  pray  you,  sir, 
(For  still  'tis  beating  in  my  mind,)  your  reason 
For  raising  this  sea-storm  ? 

Prospero.  Know  thus  far  forth,  — 

By  accident  most  strange,  bountiful  fortune, 
Now,  my  dear  lady,  hath  mine  enemies 
Brought  to  this  shore.     Here  cease  more  questions. 


SCENE    FROM   THE   TEMPEST.  199 

Thou  art  inclined  to  sleep  :  'tis  a  good  dulness, 

And  give  it  way.    I  know  thou  canst  not  choose.     [MIRANDA  sleeps. 

Come  away,  servant,  come :  I  am  ready  now. 

Approach,  my  Ariel,  come.  [Enter  ARIEL. 

Ariel.  All  hail,  great  master  !  grave  sir,  hail !     I  come 
To  answer  thy  best  pleasure ;  be  it  to  fly, 
To  swim,  to  dive  into  the  fire,  to  ride 
On  the  curled  clouds  :  to  thy  strong  bidding  task 
Ariel  and  all  his  quality. 

SHAKSPEARE'S  TEMPEST,  act  i.  scene  2. 

THE  story  of  the  play  of"  The  Tempest,"  from  which  this 
tableau  is  taken,  is,  that  Prospero,  Duke  of  Milan,  being  dis- 
possessed of  his  throne  and  crown  by  his  brother  Antonio, 
is  landed  upon  a  desolate  island,  where,  living  alone  with  his 
young  daughter  for  many  years,  he  acquires  a  knowledge 
of  the  magic  arts  from  his  books,  by  which  means  he  is  en- 
abled to  release  Ariel,  a  young  boy  who  had  been  confined 
twelve  years  in  a  tree  by  a  witch,  and  whom  Prospero  en- 
dows with  supernatural  power,  and  makes  him  his  servant. 
The  scene  of  this  picture  is  during  a  storm  that  Prospero 
causes  Ariel  to  raise  for  the  purpose  of  driving  the  ship  of 
his  brother  Antonio,  who  is  near,  by  some  strange  chance, 
upon  the  shore  of  the  island.  Miranda,  his  daughter,  de- 
sires him  to  stay  the  storm,  and  save  the  lives  of  the  crew : 
but  he  assures  her  that  they  are  all  safe ;  and,  under  his 


200  PARLOR   TABLEAUX. 

spell,  she  sleeps,  while  he  summons  Ariel  to  hear  his  re- 
port. Upon  the  right  side  of  the  stage,  about  half-way 
back,  a  pile  of  boxes  should  be  placed,  irregularly,  to  rep- 
resent rocks,  and  covered  with  brown  or  drab  cambric. 
Prospero  stands  at  the  right  of  the  stage,  near  the  front.  His 
back  is  towards  the  audience,  and  his  head  turned  away, 
looking  back,  about  one-quarter  of  the  face  being  visible  to 
the  audience.  His  left  arm  is  raised,  and  the  hand  ex- 
tended with  a  gesture  of  command  towards  Ariel,  who 
stands  at  the  back  of  the  stage.  He  holds  in  his  right  hand 
a  long  wand  of  wood,  reaching  from  the  floor  nearly  to  the 
shoulder.  He  wears  a  long  black  robe,  trailing  behind, 
with  fur  collar,  square  black  cap,  and  gray  whiskers.  The 
gentleman  taking  this  character  should  be  tall,  and  with 
straight  features. 

Ariel  should  be  represented  by  a  lad  of  from  fourteen  to 
sixteen  years  of  age,  or  by  a  young  lady  dressed  in  the 
same  style. 

He  stands  at  the  back  of  the  stage,  in  the  centre,  upon  a 
box  about  two  feet  high,  covered  with  drab  or  brown  cam- 
bric, in  imitation  of  a  rock :  he  stands  as  if  just  having 
leaped  upon  the  rock,  with  his  lower  limbs  some  distance 
apart,  and  his  arms  extended  towards  Prospero  with  a  ges- 


SCENE    FROM   THE    TEMPEST.  201 

ture  of  obedience.  His  face  is  towards  the  audience,  as  he 
looks  straight  forward  at  his  master  with  a  pleased  expres- 
sion. He  should  wear  a  white  tunic  trimmed  with  gold 
fringe  or  paper,  flesh-colored  tights,  or  stockings,  and  short 
wings  of  muslin  or  paper  upon  his  shoulders.  Miranda  is 
a  young  lady  of  about  sixteen  or  eighteen  years  of  age. 
She  is  seated  at  the  foot  of  the  pile  of  rocks,  upon  the  right : 
her  right  arm,  bent  at 'the  elbow,  lies  upon  a  rock  ;  and  her 
head  leans  over  upon  the  arm,  with  the  eyes  closed,  as  in 
sleep.  Her  face  is  towards  the  audience,  her  left  arm  lying 
naturally  by  her  side,  and  her  lower  limbs  crossed.  She 
wears  a  white-muslin  dress  with  low  neck,  hanging  close  to 
her  form  ;  a  long  white  mantle  thrown  back  over  her  shoul- 
ders, and  covering  her  left  arm ;  and  a  wreath  of  small 
white  flowers  upon  the  front  of  her  hair,  which  hangs  in 
curls.  Ariel  should  be  surrounded  with  a  blue  smoke,  the 
light  falling  on  Miranda  also.  The  noise  of  a  storm  should 
be  made  outside. 


202  PARLOR  TABLEAUX. 


VISION  OF  C^SAR. 

THREE  GENTLEMEN. 

Brutus.  It  is  well  done ;  and  thou  shalt  sleep  again. 
I  will  not  hold  thee  long.     If  I  do  live, 

I  will  be  good  to  thee.  [Music  and  a  song 

This  is  a  sleepy  tune.    O  murderous  slumber  ! 
Lay'st  thou  thy  leaden  mace  upon  my  boy, 
That  plays  thee  music  ?  —  Gentle  knave,  good-night : 
I  will  not  do  thee  so  much  wrong  to  wake  thee. 
If  thou  dost  nod,  thou  break'st  thy  instrument; 
I'll  take  it  from  thee :  and,  good  boy,  good-night. 
Let  me  see ;  let  me  see.     Is  not  the  leaf  turned  down 
Where  I  left  reading  1     Here  it  is,  I  think.  [He  sits  down. 

Enter  the  Ghost  ofC&SA*. 

How  ill  this  taper  burns  !  —  Ha !  who  comes  here  ? 
I  think  it  is  the  weakness  of  mine  eyes 
That  shapes  this  monstrous  apparition. 
It  comes  upon  me  !  —  Art  thou  any  thing  ? 
Art  thou  some  god,  some  angel,  or  some  devil, 
That  mak'st  my  blood  cold,  and  my  hair  to  stare  ? 
Speak  to  me  what  thou  art. 

GJiost.  Thy  evil  spirit,  Brutus. 

Bru .  Why  com'st  thou "? 

Ghost.  To  tell  thee  thou  shalt  see  me  at  Philippi. 

Bru.  Well: 
Then  I  shall  see  thee  again ! 


VISION   OF   CAESAR.  203 

Ghost.  Ay,  at  Philippi.  [Ghost  vanishes. 

Bru.   Why,  I  will  see  thee  at  Philippi,  then. 
Now  I  have  taken  heart,  thou  vanishest, 
111  sprite  !     I  would  hold  more  talk  with  thee. 
Boy  !  Lucius  !  Varro  !  Claudius  !  sirs,  awake ! 

Claudius ! 

JULIUS  CAESAR,  act  iv.  scene  3. 

i 

THIS  scene  from  the  historical  play  of  "Julius  Caesar" 
represents  an  incident  supposed  to  have  taken  place  at  the 
camp  of  Brutus,  previous  to  his  battle  with  Mark  Antony 
and  Octavius  Cassar,  at  Philippi.  The  ghost  of  the  mur- 
dered Caesar  is  represented  as  appearing  to  Brutus  as  a 
foreboding  of  his  fate  at  that  battle.  The  stage  represents 
the  exterior  of  the  tent  of  Brutus.  At  the  back  the  cur- 
tains are  draped,  meeting  at  the  top  in  a  point  to  represent 
a  tent.  Brutus  is  seated  to  the  left  of  the  centre  of  the 
stage  upon  a  small  stool,  at  a  table  upon  which  is  a  tall 
lamp  burning.  The  heel  of  his  left  foot  presses  against  the 
chair,  while  his  right  foot  is  advanced  towards  the  centre. 
His  face  is  turned  a  little  towards  the  right,  so  as  to  exhibit 
about  a  three-quarters  view  to  the  audience.  His  right  arm 
is  extended  towards  the  centre,  palm  downward,  with  an 
expression  of  alarm  :  his  left  lies  upon  the  table,  holding  a 
paper.  He  should  be  represented  as  about  thirty  or  forty 


204  PARLOR   TABLEAUX. 

years  of  age,  of  manly  features,  with  a  startled  expression 
upon  his  face,  and  his  lips  open,  as  if  uttering  an  exclama- 
tion. He  wears  a  long  dressing-robe  of  some  plain  mate- 
rial, with  drapery-sleeves,  open  from  the  neck  to  the  waist ; 
white  shirt,  with  gold  border  round  the  neck,  cut  low,  show-  i 
ing  the  upper  part  of  the  breast ;  flesh  stockings,  and  sandals. 
The  gentleman  representing  the  ghost  of  Caesar  stands  at  l. 
the  right,  near  the  back  of  the  stage.  His  right  arm  holds 
his  drapery  together  at  the  breast :  his  left  is  extended,  with 
palm  downward,  directly  towards  Brutus  at  the  left.  His 
face  is  turned  about  one-third  towards  the  left,  with  a  steady 
look  upon  the  face  of  Brutus.  His  face  is  very  pale,  his 
features  prominent ;  and  he  wears  a  long  white  drapery- 
robe,  with  a  drapery  in  the  form  of  a  large  white  cloak 
thrown  over  his  shoulders,  and  held  together  upon  his 
breast  in  his  right  hand,  and  a  wreath  of  laurel  upon  his 
head.  He  is  made  up  rather  older  than  the  gentleman  per- 
sonating Brutus.  At  the  left  of  Brutus,  in  front  of  the 
table,  the  young  attendant,  who  has  been  beguiling  the  hours 
with  music,  is  seen  sleeping.  His  right  arm  rests  upon  the 
table,  his  head  upon  his  arm ;  and  his  left  arm  is  raised 
in  front  of  his  face,  which  is  towards*  the  right.  He 
wears  a  crimson-colored  tunic,  scarlet  mantle,  flesh  stock- 


BELSHAZZAR'S  FEAST.  205 

ings,  and  sandals.  He  should  be  about  sixteen  or  seventeen 
years  of  age,  with  dark  curly  hair.  A  small  harp  made 
of  pasteboard,  gilt,  lies  at  his  feet ;  and  a  broad  short-sword 
is  on  the  floor,  at  the  foot  of  Brutus. 

The  figure  of  Caesar  should  be  at  some  distance  behind 
that  of  Brutus,  and  should  be  surrounded  with  a  blue  smoke. 
A  clear  white  light  should  be  thrown  upon  the  face  of  Bru- 
tus from  the  left.  Music  very  piano. 


BELSHAZZAR'S  FEAST. 

EIGHT  GENTLEMEN   AND   SIX   LADIES. 

Joy  holds  her  courts  in  great  Belshazzar's  hall, 
Where  his  proud  lords  attend  their  monarch's  call : 
The  rarest  dainties  of  the  teeming  East 
Provoke  the  revel,  and  adorn  the  feast. 

But  why,  0  king  !  - 

Why  dost  thou  start,  with  livid  cheek  ?  why  fling 
The  untasted  goblet  from  thy  trembling  hand  ? 
Why  shake  thy  joints  ?  —  thy  feet  forget  to  stand  ? 
Why  roams  thine  eye,  which  seems  in  wild  amaze 
To  shun  some  object,  yet  returns  to  gaze, 
Then  shrinks  again,  appalled,  as  if  the  tomb 
Had  sent  a  spirit  from  its  inmost  gloom  ? 


206  PAHLOR   TABLEACX. 

Awful  the  horror  when  Belshazzar  raised 
His  arm,  and  pointed  where  the  vision  blazed  ; 
For  see,  enrobed  in  flame,  a  mystic  shade, 
As  of  a  hand  —  a  red,  right  hand  —  displayed  ! 
And,  slowly  moving  o'er  the  wall,  appear 
Letters  of  fate,  and  characters  of  fear  ! 
In  death-like  silence  grouped,  the  revellers  all 
Fixed  their  glazed  eye-balls  on  the  illumined  wall. 

T.  S.  HUGHES. 

THIS  splendid  stage-tableau  was  suggested  by  the  large, 
unfinished  painting  by  Allston,  now  in  the  possession  of  the 
Boston  Athenaeum,  which,  had  it  been  completed,  would 
probably  have  been  most  in  accordance  with  the  original 
description  of  the  event,  in  existence.  The  number  of 
characters  incidental  to  a  complete  representation  of  the 
tableau  renders  its  performance  upon  a  very  small  stage 
impossible ;  and  it  should  not  be  attempted,  except  upon  a 
good-sized  platform.  The  stage  should  be  set  with  a  long 
table  at  the  back,  extending  from  left  to  right,  upon  which  is 
a  crimson  cloth,  with  plates,  bouquets  of  flowers,  and  fruit 
covering  the  top.  At  the  right  corner  of  the  stage,  a  throne- 
shaped  chair  is  placed,  with  a  footstool,  and  covered  with 
crimson  cloth.  The  soothsayer  stands  in  the  centre  of  the 
stage,  near  the  front.  His  left  hand  is  raised,  and  extended 
towards  the  left,  pointing  upwards  at  a  point  one-half  the 


BELSHAZZAR'S  FEAST.  207 

distance  from  the  floor  to  the  top  of  the  curtain  :  his  right  is 
clinched  at  his  side  ;  and  he  stands  erect,  looking  towards  the 
right,  at  the  king,  with  a  stern  expression  upon  his  face.  He 
wears  a  long  brown  robe,  reaching  to  the  feet ;  a  heavy 
drapery  of  purple  or  black,  hanging  from  the  right  shoulder, 
below  the  waist,  and  thrown  back  over  the  left  shoulder ; 
gray  wig,  and  pointed  beard.  The  gentleman  representing 
this  character  should  be  tall,  with  straight,  prominent  fea- 
tures. The  king  is  seated  upon  the  right  of  the  stage,  near 
the  front,  with  his  face  turned  upward  towards  the  left,  look- 
ing with  a  fixed  expression  at  the  place  to  which  the  sooth- 
sayer points,  where  the  illuminated  writing  is  supposed  to  be 
inscribed.  His  right  hand  rests  upon  the  right  arm  of  the 
chair  ;  his  left  lies  upon  his  left  knee,  which  is  extended  ;  and 
his  body  is  inclined  forward.  He  wears  a  flowing  robe  of 
yellow  or  salmon-colored  drapery,  with  neck  cut  low,  and 
trimmed  with  a  border  of  crimson  ;  heavy  gilt  crown,  and  or- 
namental girdle.  He  should  be  of  straight  features  and 
dark  complexion.  The  queen  stands  beside  the  throne,  at 
the  left  of  the  king.  Her  face  is  turned  towards  the  left, 
looking  upwards  at  the  writing  with  an  amazed  expression. 
Her  right  hand  is  raised  to  her  bosom :  her  left  is  at  her 
side.  She  wears  a  long  crimson  or  black  velvet  robe, 


208  PARLOR   TABLEAUX. 

trimmed  with  gilt  bullion-fringe  and  pearl  beads ;  gold  baud 
upon  her  head,  from  which  hangs  a  long  black  veil,  ex- 
tending over  her  shoulders  ;  and  a  sash,  trimmed  with  pearl 
beads,  extending  from  her  waist  over  her  left  shoulder.  This 
character  should  be  represented  by  a  lady  twenty-five  or 
thirty  years  of  age,  who  should  be  of  dark  complexion. 

The  three  wise  men  are  on  the  left  side  of  the  stage,  near 
the  front :  two  of  them  stand  with  their  faces  turned  towards 
the  right,  looking  upon  the  soothsayer  with  a  startled  ex- 
pression ;  while  the  other  stands  nearer  the  back  of  the 
stage,  his  face  towards  the  audience,  pointing  upward 
towards  the  point  where  the  writing  is  supposed  to  be. 
They  wear  long,  flowing  robes  of  black,  purple,  and  brown, 
belted  at  the  waist ;  turbans  with  cloth  flap  upon  their 
heads  ;  and  sandals.  The  two  nearest  the  front  have  dark 
beards  ;  the  other,  a  white  beard  and  wig.  At  the  left  of  the 
centre  of  the  stage,  two  ladies  kneel,  their  faces  towards 
the  soothsayer,  heads  inclined  forward,  and  hands  clasped 
as  they  look  toward  him  with  an  expression  of  entreaty. 
The  lady  nearest  the  front  wears  a  handsome  pink  silk  with 
low  neck,  sash  over  the  shoulder,  and  coronet  of  pearls 
upon  her  head.  Her  companion  is  costumed  in  blue-silk 
dress,  with  white  shoulder-scarf,  and  silver  coronet  upon  her 
head. 


BELSHAZZAR'S  FEAST.  209 

A  figure  dressed  as  a  soldier  stands  upon  the  right  of  the 
stage,  in  front  of  the  table.  He  holds  in  his  right  hand  a 
battle-axe,  which  is  lowered  below  the  level  of  his  waist. 
His  left  hand  is  extended  back  ;  his  body  inclined  forward, 
as  he  looks  towards  the  left,  at  the  writing,  with  an  expres- 
sion of  terror. 

The  table  is  occupied  by  six  or  eight  guests,  —  ladies  and 
gentlemen,  —  who  are  seated  generally  at  the  side  nearest  the 
back  of  the  stage  ;  some  looking  forward,  with  an  earnest 
expression,  at  the  soothsayer ;  others  gazing  at  the  writ- 
ing with  a  terrified  expression,  or  exchanging  significant 
glances.  The  gentlemen  wear  long  robes  of  pink,  scarlet, 
and  purple,  richly  trimmed,  and  light  turbans.  The  ladies 
wear  long  dresses  of  white,  blue,  and  yellow,  with  shoulder- 
scarfs  and  head-dresses.  The  stage,  back  from  the  centre, 
should  be  lighted  by  a  clear  white  light ;  while  a  bright-red 
light  is  placed  at  the  point  where  the  writing  is  supposed  to 
be,  and  is  thrown  upon  the  figures  at  the  front.  Music  of 
a  stormy  character. 
14 


210  PARLOR   TABLEAUX. 

THE  CORSAIR'S   BRIDE. 

ONE  GENTLEMAN  AND  ONE  LADY. 

She  rose,  she  sprang,  she  clung  to  his  embrace, 
Till  his  heart  heaved  beneath  her  hidden  face. 
He  dared  not  raise  to  his  that  deep-blue  eye 
Which  downcast  drooped  in  tearless  agony. 
Her  long  fair  hair  lay  floating  o'er  his  arras 
In  all  the  wildness  of  dishevelled  charms  ; 
Scarce  beat  that  bosom  where  his  image  dwelt, 
So  full,  that  feeling  seemed  almost  unfelt ! 

Hark !    Peals  the  thunder  of  the  signal-gun  ! 
It  told  'twas  sunset ;  and  he  cursed  that  sun. 
Again,  again,  that  form  he  madly  pressed, 
Which,  mutually  clasped,  imploringly  caressed  ; 
And,  tottering,  to  the  couch  his  bride  he  bore; 
One  moment  gazed,  as  .if  to  gaze  no  more  ; 
Felt  that  for  him  earth  held  but  her  alone ; 
Kissed  her  cold  forehead  ;  turned.     Is  Conrad  gone  ? 

BYRON. 

BYRON'S  poem  of  "  The  Corsair,"  the  hero  of  which  is 
represented  as  a  villain  in  every  respect,  except  his  true 
love  for  the  fair  Medora,  is  probably  well  known  to  many 
readers.  The  tableau  represents  the  parting  of  the  corsair 
with  his  lady-love  after  one  of  their  stolen  interviews,  and 
the  last  one  in  which  they  are  destined  to  meet. 


THE  CORSAIR'S  BRIDE.  211 

The  gentleman  personating  the  corsair  stands  at  the  left 
of  the  centre  of  the  stage,  with  his  right  arm  around  the 
lady's  waist,  his  left  extended  towards  her.  His  face  is 
towards  the  right,  looking  down  upon  the  lady  with  a  sad 
but  tender  expression  ;  and  his  body  is  slightly  drawn  back, 
as  if  endeavoring  to  withdraw  from  her  embrace.  He 
should  be  of  dark  complexion,  straight  features,  with  heavy 
black  mustache  and  imperial ;  and  should  wear  loose  white 
trousers,  reaching  a  few  inches  below  the  knees ;  white 
shirt,  trimmed  with  gold  ;  blue  cut-away  jacket,  trimmed 
with  gold,  and  lined  with  red  ;  Fez  cap,  with  tassel ;  sabre 
and  belt,  and  slippers.  The  lady  stands  in  the  centre  of 
the  stage.  Her  face  is  towards  the  left,  looking  up  at  her 
lover  with  an  entreating  expression.  Her  left  arm  is 
passed  around  his  neck ;  her  right  hand  grasps  his  left 
arm  at  the  wrist.  She  wears  a  loose  white  robe  with  short 
sleeves  and  low  neck.  Her  hair  should  be  of  light  color, 
and  allowed  to  fall  loosely  over  her  shoulders.  The  light 
should  be  thrown  so  as  to  fall  upon  the  lady's  face.  Music 
very  piano.  A  lounge,  with  counterpane,  and  sheets 
turned  back  upon  it,  may  be  placed  at  the  back  of  the 
Ptage. 


PAELC  11    TABLEAUX. 

THE  VEILED   PROPHET. 

ONE    LADY    AND    TWO    GENTLEMEN. 

Scarce  had  she  said 

These  breathless  words,  when  a  voice  deep  and  dread 
As  that  of  Monker,  waking  up  the  dead 
From  their  first  sleep,  —  so  startling  'twas  to  both,  — 
Rang  through  the  casement  near,  "  Thy  oath  !  thy  oath  !  " 

0  Heaven  !  the  ghastliness  of  that  maid's  look ! 
"  'Tis  he  !  "  faintly  she  cried,  while  terror  shook 
Her  inmost  core ;  nor  durst  she  lift  her  eyes, 
Though  through  the  casement  now  nought  but  the  skies 
And  moonlit-fields  were  seen,  calm  as  before. 

"  'Tis  he,  and  I  am  his  !  —  all,  all,  is  o'er  ! 
Go,  fly  this  instant,  or  thou'rt  ruined  too  ! 
My  oath,  my  oath  !     O  God  !  'tis  all  too  true,  — 
True  as  the  worm  in  this  cold  heart  it  is  ! 

1  am  Mokanna's  bride  !  — his,  Azim,  his  ! 

The  dead  stood  round  us  while  I  spoke  that  vow : 

Their  blue  lips  echoed  it ;  I  hear  them  now ! 

Their  eyes  glared  on  me  while  I  pledged  that  bowl : 

'Twas  burning  blood  !  —  I  feel  it  in  my  soul ! 

And  the  yelled  Bridegroom  —  hist!  I've  seen  to-night 

What  angels  know  not  of,  —  BO  foul  a  sight, 

So  horrible,  oh  !  never  mayst  thou  see 

What  there  lies  hid  from  all  bat  hell  and  me  ! 

But  I  must  hence.     Off,  off  !  I  am  not  thine, 

Nor  Heaven's,  nor  Love's,  nor  aught  that  is  divine  ! " 

MOORE. 


THE    VEILED    PROPHET.  213 

THIS  scene  is  from  the  well-known  legend  of  "  The 
Veiled  Prophet "  in  Moore's  poem  of  "  Lalla  Rookh,"  and 
is  one  of  a  number  of  tableaux  presented  at  the  time  of 
its  original  publication,  at  the  Prussian  court,  by  several 
of  the  nobility  of  that  kingdom.  The  legend  is  located  in 
Oriental  regions.  The  young  hero  of  the  poem,  Azim, 
who  is  in  love  with  the  fair  Zelica,  is  removed  from  her 
society  by  Mokanna,  a  false  prophet,  who,  hideous  in  as- 
pect, and  malicious  in  character,  wears  a  gorgeous  but 
impenetrable  veil  of  silver,  which  covers  his  deformity, 
and  shrouds  him  in  mystery.  He  persuades  Zelica  that 
Azim  is  dead ;  and  she,  in  her  sorrow,  yields  herself  to 
Mokanna,  and  takes  a  solemn  oath  to  remain  his  bride. 
She  then  finds,  that,  in, place  of  becoming  the  votary  of 
a  devout  prophet,  she  has  placed  herself  in  the  power  of  a 
hideous  monster,  and  is  almost  heart-broken  at  her 
wretched  fate  ;  when  Azim  suddenly  returns,  renews  his 
vows  of  constancy,  consents  to  retain  her  as  she  is,  and  at 
last  overcomes  her  scruples,  and  is  about  to  bear  her  away, 
when  the  Veiled  Prophet  appears  at  the  window,  exclaiming 
to  Zelica,  "  Thy  oath  !  thy  oath ! "  and,  despite  Azim's 
importunities,  she  turns  from  him,  and  flies  back  to  the 
prophet's  palace. 


214  PARLOR   TABLEAUX. 

The  scene  given  represents  Azim  and  Zelica  at  the 
moment  when  the  prophet  appears  uttering  the  solemn 
warning.  The  curtain  upon  the  left  side  of  the  background 
is  drawn  aside>  showing  the  Veiled  Prophet :  he  stands 
with  his  right  hand  raised  above  his  head,  the  forefinger 
pointing  upward.  His  left  arm  is  raised,  the  palm  turned 
downwards,  and  held  just  above  his  head,  in  a  horizontal 
position.  His  face  and  front  are  towards  the  audience,  and 
he  stands  erect  and  immovable.  He  wears  a  long  robe  of 
flowing  white  drapery,  with  tight-fitting  sleeves,  trimmed 
with  silver  paper  or  tinsel ;  veil  of  white  cotton,  striped 
with  silver  paper  or  tinsel,  covering  the  face  completely ; 
and  a  turban  of  white,  fitting  close  to  the  head,  and  orna- 
mented with  a  crown  of  silver  round  the  front.  Zelica 
should  be  personated  by  a  young  lady  of  dark  complexion 
and  handsome  features.  She  kneels  at  the  right  of  the 
centre  of  the  stage,  on  her  left  knee,  upon  a  cushion  placed 
there.  Her  right  hand  is  raised  to  her  head  ;  her  left  hand 
extended  towards  the  centre,  lying  in  that  of  Azim.  Her 
face  is  turned  half  way  towards  the  left,  looking  forward 
with  a  startled,  despairing  expression.  Her  right  limb  is 
bent  at  the  knee,  and  extending  over  the  edge  of  the 
cushion ;  then  touches  the  floor.  She  wears  a  long  white 


THE   VEILED    PROPHET.  215 

skirt ;  over-skirt  of  crimson,  open  in  front ;  large  flowing 
robe  of  crimson  drapery,  lined  with  white,  and  trimmed 
with  gold  stars,  hanging  behind  ;  white-gauze  veil,  trimmed 
with  stars,  and  hanging  from  the  right  side  of  her  head  to 
her  waist,  and  extending  from  there  over  her  right  shoul- 
ders :  a  pair  of  white  slippers  and  tight-fitting  sleeves  com- 
plete her  costume.  Her  hair  is  combed  loosely,  —  one  end 
hanging  over  her  left  shoulder,  in  front ;  the  other  hanging 
over  her  right,  behind.  Azim  should  be  represented  by  a 
young  gentleman  of  dark  complexion,  with  long  curling  hair, 
and  mustache  with  very  long  ends :  he  stands  directly  be- 
hind Zelica,  his  right  hand  extended  forward  on  a  level  with 
his  waist ;  his  left  extended,  grasping  that  of  the  lady.  He 
leans  upon  his  right  leg,  his  body  inclined  forward,  his  left 
extended  backward  :  his  face  is  turned  towards  the  front, 
looking  out  with  a  surprised  expression.  He  wears  a  white 
tunic,  reaching  to  the  knee,  trimmed  around  the  neck  and 
bottom  of  the  skirt  with  two  rows  of  gilt  paper,  or  tinsel, 
and  cut  low  in  the  neck,  showing  a  ruffled  shirt ;  blue  scarf, 
trimmed  with  yellow  fringe,  one  end  hanging  over  the  left 
shoulder ;  sword-belt  and  sword  ;  armor-leggins,  or  stock- 
ings, covered  with  small  gilt  plates  of  paper  ;  sandals  ;  and 
turban  of  white,  with  a  band  of  gold  round  the  front,  to 


216  PARLOR    TABLEAUX. 

which   is  attached  a  plume  of  white  feathers  floating  be- 
hind. 

i 

A  white  smoke  and  light  should  surround  the  figure  of 
the  prophet,  while  the  figures  in  the  foreground  are  lighted 
by  a  bright-blue  flame  thrown  upon  their  faces.  The 
music  should  be  slow  and  solemn. 


EVENING-HYMN   OF  THE   HUGUENOTS. 

Hark  !  'tis  the  breeze  of  twilight  calling 

Earth's  weary  children  to  repose  ; 
While,  round  the  couch  of  Nature  falling, 

Gently  the  night's  soft  curtains  close. 

Soon  o'er  a  world  of  sin  in  sleep  reclining, 
Numberless  stars,  through  yonder  dark, 

Shall  look  like  eyes  of  cherubs  shining 
From  out  the  veils  that  hid  the  ark. 

Guard  us,  O  Thou  who  never  sleepest ; 

Thou  who,  in  silence  throned  above, 
Throughout  all  time,  unwearied,  keepest 

Thy  watch  of  glory,  power,  and  love  ! 

Grant  that  beneath  thine  eye,  securely, 
Our  souls,  awhile  from  life  withdrawn, 

May  in  their  bosoms  stilly,  purely, 

Like  "  sealed  fountains,"  rest  till  dawn. 

MOOBE. 


EVENING-HYMN    OF   THE    HUGUENOTS.  217 

THIS  beautiful  stage-tableau  is  one  of  the  most  novel  and 
pleasing  presented  in  this  volume.  It  represents  a  small 
party  of  exiled  Huguenots  departing  from  their  native  land 
by  one  of  the  rivers  of  France.  The  oarsmen  have  ceased 
from  their  work,  and  all  join  in  listening  to  the  evening 
hymn  as  it  floats  out  over  the  still  waters.  At  the  back  of 
the  stage  a  boat  should  be  placed,, made  of  pasteboard,  with 
the  side  nearest  the  front  painted,  and  bearing  near  the 
stern  the  name  "  Coligny."  A  mast  may  be  placed  at  the 
left  end  of  the  boat,  and  a  sheet,  mounted  like  a  square-sail, 
placed  upon  the  mast,  if  desired,  to  carry  out  the  effect. 
A  strip  of  paper  or  canvas  about  two  feet  high,  painted  blue, 
should  be  placed  in  front  of  the  dummy  boat,  separating  it 
from  the  audience,  to  imitate  water.  A  young  man  about 
twenty  years  of  age  stands  in  the  centre  of  the  boat.  His 
face  is  towards  the  right,  and  turned  up,  with  lips  open,  as 
if  singing.  He  holds  in  his  hands  an  open  book,  at  the  height 
of  his  waist ;  and  his  face  wears  a  devout  expression.  He 
wears  a  long  brown  waistcoat  reaching  below  the  waist,  with 
long  sleeves,  broad  white  collar,  knee-breeches  of  a  brown 
color,  cut  loose,  slate-colored  stockings,  cape,  and  pumps.  He 
should  be  of  light  complexion,  if  possible,  with  long  hair  and 
straight  features.  A  young  lady,  of  about  the  same  age  as 


218  PARLOR   TABLEAUX. 

the  young  man,  stands  at  his  left  side.  Her  face  is  towards 
the  right,  and  she  looks  in  that  direction  with  a  calm  expres- 
sion. Her  hands  are  clasped  over  a  small  book,  which  t?lie 
holds  in  front  of  her.  She  wears  a  skirt  of  lavender  silk  ; 
basque  of  the  same  material,  with  drapery-sleeves,  showing 
lace  undersleeves  ;  neck  of  the  dress  cut  low  and  pointed,  wiih 
a  wide  lace  collar  around  the  neck,  and  white  lace  veil  hang- 
ing from  her  head  over  her  shoulders.  She  should  be  of  light 
complexion,  with  straight  features.  At  the  extreme  left  of 
the  boat,  two  of  the  sailors  are  seated :  the  one  at  the  side 
towards  the  back  leans  backward  with  his  eyes  closed,  and  his 
hands  crossed  over  a  book  which  lies  upon  his  lap.  He  wears 
a  red  shirt,  blue  trousers,  and  slippers,  and  brown  beard  upon 
his  face.  Tne  sailor  nearer  the  front  leans  forward,  with  his 
left  arm  upon  an  oar,  which  extends  over  the  side  of  the  boat, 
his  right  arm  upon  his  knee,  and  his  head  inclined  forward, 
with  an  attentive  expression  upon  his  face.  At  the  right  of 
the  centre  of  the  boat,  a  woman  is  seen  kneeling  over  a 
young  boy,  who  lies  upon  a  pile  of  clothes  in  the  bottom  of 
the  boat :  she  kneels  with  her  arms  around  the  boy,  her 
head  partly  turned  towards  the  right,  and  looking  down 
towards  the  boy  with  a  thoughtful  expression.  She  wears 
a  plain  brown  dress,  white  neck-kerchief,  and  white  hand- 


EVENING-HYMN    OF    THE    HUGUENOTS.  219 

kerchief  around  her  head.  The  boy  should  be  about  four 
years  of  age :  he  lies  upon  the  blankets  which  extend  over 
the  edge  of  the  boat,  with  his  eyes  closed,  and  head  towards 
the  right.  He  wears  a  white-cotton  night-dress,  the  lower 
part  of  his  body  being  covered  with  blankets.  At  the  right 
of  the  centre,  at  the  rear  side  of  the  boat,  a  young  lady  of 
about  sixteen  kneels  :  her  face  is  towards  the  front,  turned 
upwards  with  lips  open  as  if  singing ;  and  her  hands  are 
clasped  in  front  of  her.  She  wears  a  bright-blue  dress,  with 
white  collar,  and  hair  in  ringlets.  At  the  right  end  of  the 
boat,  a  gentleman  representing  an  old  sailor  is  seated :  a 
large  book  rests  upon  his  knees,  which  he  holds  in  his  hands  ; 
and  he  looks  down  as  if  reading,  with  a  thoughtful  expres- 
sion. He  wears  a  red  vest  with  yellow  sleeves,  brown 
trousers,  large  collar,  red  cap,  gray  wig  and  beard.  The 
tableau  is  not  a  difficult  one  to  produce  ;  the  boat  being 
easily  made  with  some  barrel-hoops  for  a  frame,  and  thick 
pasteboard  for  covering.  A  white  light  should  be  thrown 
upon  the  figures,  and  the  music  is  some  sacred  hymn. 


220  PARLOR   TABLEAUX. 


HAIDEE  AND   JUAN. 

ONE    GENTLEMAN     AND    TWO     LADIES. 

Her  brow  was  overhung  with  coins  of  gold, 
That  sparkled  o'er  the  auburn  of  her  hair,  — 

Her  clustering  hair,  whose  longer  locks  were  rolled 
In  braids  behind ;  and,  though  her  stature  were 

Even  of  the  highest  for  a  female  mould, 

They  nearly  reached  her  heel ;  and  in  her  air 

There  was  a  something  that  bespoke  command, 

As  one  who  was  a  lady  in  the  land. 

But  with  our  damsel  this  was  not  the  case : 
Her  dress  was  many-colored,  finely  spun ; 

Her  locks  curled  negligently  round  her  face, 
But  through  them  gold  and  gems  profusely  shone ; 

Her  girdle  sparkled,  and  the  richest  lace 

Flowed  in  her  veil ;  and  many  a  precious  stone 

Flashed  on  her  little  hand  :  but,  what  was  shocking, 

Her  small  snow  feet  had  slippers,  but  no  stocking. 

Young  Juan  slept  all  dreamless ;  but  the  maid 
Who  smoothed  his  pillow,  as  she  left  the  den, 

Looked  back  upon  him,  and  a  moment  staid, 
And  turned,  believing  that  he  called  again. 


HAIDEE    AXD    JUAN.  221 

He  slumbered  :  yet  she  thought,  at  least  she  said, 

(The  heart  will  slip  even  as  the  tongue  and  pen,) 
He  had  pronounced  her  name ;  but  she  forgot 
That  at  this  moment  Juan  knew  it  not. 

BYRON. 

THE  scene  of  this  tableau  is  from  Byron's  poem ;  the 
finding  of  Juan,  and  carrying  him  to  the  cave,  where  Hai- 
dee  had  him  laid  upon  a  couch  made  from  choice  furs  and 
clothing,  being  previous  to  the  portion  of  the  poem  here  il- 
lustrated. Juan  should  be  represented  by  a  young  man  about 
eighteen  years  of  age,  of  dark  complexion,  and  handsome 
features.  A  pile  of  mats  and  clothing  should  be  placed  in 
the  centre  of  the  stage,  and  covered  with  a  fur  robe,  or 
something  similar.  When  the  curtain  rises,  the  young 
man  is  discovered  lying  upon  the  fur  cushion,  upon  his 
right  side,  with  his  face  towards  the  audience :  his  arms 
are  extended  above  his  head  on  the  cushion  ;  and  his  eyes 
closed,  as  in  sleep.  The  lower  part  of  his  body  should  be 
covered  by  a  cloak  of  some  crimson  or  blue  material ;  while 
he  wears  on  his  waist  a  white  shirt  with  turn-down  collar, 
and  black  neck-tie.  The  young  lady  personating  Haidee 
should  stand  in  the  centre  of  the  stage,  bending  over  the 
young  man,  with  hands  extended,  as  if  trying  to  catch 
some  sound.  There  is  a  smile  on  her  face ;  and  her  left 


222  PARLOR   TABLEAUX. 

hand  is  extended  towards  her  attendant,  as  if  commanding 
silence.  She  should  wear  a  robe  of  white  silk  or  muslin, 
under  a  Grecian  jacket  of  wine-colored  velvet,  trimmed 
with  gilt  braid  ;  a  bodice  of  blue,  spangled  ;  a  broad  scarf 
of  blue  or  white  satin,  fringed  with  gold  ;  slippers  ;  and  on 
her  head  a  coronet  of  gold-paper  disks  in  imitation  of 
coins,  attached  to  a  turban,  with  a  long  lace  veil  falling 
from  the  left  side.  Her  hair  should  be  allowed  to  fall  in 
long  curls  behind.  The  attendant  should  be  similarly 
dressed,  though  more  plainly,  and  with  different  colors ; 
her  hair  being  ornamented  with  a  silver  coronet.  She 
should  stand  at  the  left,  looking  towards  Haidee,  with  her 
right  hand  beckoning  her  to  come,  and  with  her  left  point- 
ing to  the  door.  She  wears  an  anxious  expression  on  her 
face.  A  bright  light  may  be  thrown  upon  the  two  promi- 
nent figures  of  the  picture.  Music  slow  and  soft. 

TRUST. 

ONE    LADY. 

THIS  is  a  companion  to  the  statuary  tableau  of  Palmer's 
"Faith;"  and,  although  the  original  is  not  a  statue,  the 
tableau  is  intended  to  represent  the  figure  as  such.  On  the 


STATUE-SCENE    FROM   THE    MARBLE    HEART.  223 

right-hand  corner  of  the  front  of  the  stage  a  long  wooden 
box  should  be  placed,  standing  on  end,  and  covered  with 
white  cotton  to  represent  marble.  The  lady  should  stand 
with  her  right  arm  leaning  on  the  box,  which  should  be  of 
proper  height ;  her  left  hand  crossed  over  her  right  wrist. 
Her  face  is  turned  towards  the  left,  and  looking  upward 
with  a  confident  expression.  She  should  be  dressed  in  a 
white  drapery-robe  with  low  neck,  and  an  additional  drape- 
ry passing  over  her  right  arm,  and  wound  over  her  left 
side.  Her  hair  should  be  combed  back  from  her  face, 
heavily  powdered  with  white,  and  with  a  braid  of  the  same 
extending  round  the  front  of  her  head,  in  the  style  of  a 
coronet.  Her  light  foot  should  be  raised,  and  placed  upon 
a  stone  in  front,  at  the  side  of  the  pedestal.  A  white  light 
should  be  thrown  from  the  left.  Music,  some  sacred  hymn. 


STATUE-SCENE   FROM  THE   MARBLE   HEART. 

TWO    GENTLEMEN   AND   THREE   LADIES. 

Phidias.  (Addressing  the  statues.)  La'is,  Aspasia,  and  Phryne,  to 
me  you  owe  your  existence.  I  love  you.  You  know  I  am  poor. 

Diogenes.  A  bad  argument,  Phidias ;  a  very  bad  argument.  Poverty 
is  a  spectre  they  all  fly  from :  it  extinguishes  even  gratitude ;  and 


224  PARLOR    TABLEAUX. 

gratitude  (laughing  in  derision)  —  O  rara  avis!  if  thou  art  a  wonder  in 
hearts  of  flesh  and. blood,  who  can  expect  to  find  thee  in  marble? 

Phidias.  I  am  poor,  —  very  poor ;  but  I  love  you.  Remain  with  him 
to  whom  you  owe  your  glory  and  immortality.  ( The  statues  continue 
motionless. ) 

Gorgias.  Now  for  me.  I  am  Gorgias,  the  Croesus  of  Athens.  I 
am  richer  than  all  the  kings  of  Asia.  I  offer  you  palaces  paved  with 
gold  ;  you  shall  be  enshrined  in  diamonds  ;  Poesie  shall  exhaust  lu-r.-clt' 
in  praises  of  your  beauty;  and  all  the  great  ones  of  the  world  shall 
worship  you.  Aspasia,  La'is,  and  Phryne.  which  do  you  choose 
( The  statues  turn  their  heads,  open  their  eyes,  and  smile  upon  GORGIAS.) 

Phidias.  (Starting  with  a  cry  of  agony.)  Ah!  monsters  of  ingrati- 
tude, they  forsake  me !  ( Covers  his  face  with  his  hands.) 

Gorgias.  (Triumphantly.)  Poor  Phidias,  Gorgias  is  again  a  con- 
queror ! 

Diogenes.  O  marble  hearts,  marble  hearts !  false  ones  of  the  past, 
false  ones  of  the  future !  woe  to  the  man  who  loves  you  !  Your  gold- 
bought  smiles  have  ever  been,  and  ever  will  be,  ministers  of  ruin, 

misery,  and  death. 

THE  MARBLE  HEART,  act  i.  scene  I. 

SELBY'S  popular  play  of  "The  Marble  Heart"  is  doubt- 
less familiar  to  many  readers,  patrons  of  the  drama  in  any 
of  our  large  cities.  The  accompanying  tableau,  though 
devoid  of  any  very  elaborate  stage-effect,  is  justly  regarded 
as  one  of  the  most  striking  pictures  ever  presented  on  the 
stage. 

The  scene  represented  is  described  in  the  lines  quoted 
above,  and  represents  the  statues  in  the  act  of  turning  away 


STATUE-SCENE    FROM    THE    MARBLE    HEART.  225 

from  Phidias,  and  smiling  upon  Gorgias.  At  the  back  of 
the  stage,  a  long  narrow  box  or  platform  is  placed  in  the 
rear  of  the  curtain,  forming  the  general  background.  The 
platform  should  be  two  or  three  feet  high,  and  covered  with 
green  baize  or  any  dark-colored  material. 

The  statues  should  be  represented  by  three  young  ladies, 
tall,  with  straight  features.  The  taller'of  the  ladies  stands 
in  the  centre  of  the  platform :  her  left  hand  hangs  at  her 
side,  holding  a  scroll  of  white  paper ;  her  right  hand  is 
raised  to  her  bosom.  She  stands  erect,  with  about  two- 
thirds  of  her  face  towards  the  audience,  and  looking  towards 
the  left  at  Gorgias,  with  a  smile  upon  her  face.  She  wears 
upon  her  head  a  crown  of  white  paper,  to  represent  marble  ; 
and  her  hair  is  very  heavily  powdered  with  white  chalk,  to 
represent  the  same  substance.  Her  costume  is  a  plain  robe 
of  white,  covered,  with  the  exception  of  a  small  portion, 
by  heavy  folds  of  white  drapery  hanging  from  her  shoulders, 
and  covering  her  arms  to  the  elbow.  The  lady  representing 
the  statue  Lais  stands  on  the  right  of  the  central  figure : 
her  left  hand  rests  upon  the  shoulder  of  the  statue  beside 
her ;  while  in  her  right  she  holds  a  goblet,  painted  white, 
in  imitation  of  marble,  before  her  companion.  She  stands 
so  that  about  half  of  her  face  is  turned  toward  the  audience  ; 
15 


226  PARLOR   TABLEAUX. 

and,  looking  towards  the  left,  also  smiles  upon  Gorgias. 
She  wears  upon  her  head  a  wreath  of  white-paper  leaves, 
in  imitation  of  a  laurel  wreath  in  marble  ;  and  her  hair  is 
also  heavily  powdered.  Her  dress  is  a  plain  robe  of  white, 
with  low  neck  and  short  sleeves,  and  white  drapery,  leaving 
the  arms  and  neck  exposed.  The  remaining  lady,  repre- 
senting the  statue  Phryne,  stands  at  the  left  of  the  central 
figure,  her  right  hand  upon  the  shoulder  of  the  lady  at  her 
left,  holding  a  wreath  of  white-paper  leaves  toward  her. 
She  stands  close  to  her  companion,  looking  with  a  smiling 
expression  upon  Gorgias. 

Phidias  is  at  the  right  of  the  centre  of  the  stage,  some 
distance  from  the  front,  kneeling  upon  his  left  knee,  his  face 
turned  from  the  audience  and  covered  by  his  hands,  as  his 
head  is  bowed  in  grief.  His  dress  is  a  slate-colored  tunic 
with  white  Grecian  border,  stockings,  and  sandals.  Gorgias 
stands  on  the  left  of  the  centre  of  the  stage,  looking  towards 
Phidias  with  a  triumphant  expression ;  the  left  side  of  his 
face  being  turned  towards  the  audience,  and  his  right  hand 
extended,  pointing  towards  the  statues.  He  wears  a  tunic 
of  crimson  color,  a  white  toga  profusely  ornamented  with 
gold,  flesh-colored  stockings,  and  crimson  buskins,  with  a 
golden  circlet  and  white  ribbon  upon  his  head.  A  very 


STATUE-SCENE    FROM   THE   MARBLE    HEART.  227 

powerful  white  light  should  be  thrown  upon  the  statues  from 
the  right,  behind  the  inner  curtain  ;  the  intensity  of  the  light 
assisting  very  much  in  throwing  the  figures  into  bold  relief 
from  the  background,  and  enhancing  their  statuesque  ap- 
pearance. The  curtains  ordinarily  used  as  a  background 
should  be  placed  in  front  of  the  small  platform  at  the  back, 
and  looped  up  at  the  sides  sufficiently  to  show  the  figures 
distinctly.  An  additional  covering  for  the  background  will 
necessarily  be  required,  which  should  be  of  some  black- 
colored  material. 

If  desired,  the  characters  of  Phidias  and  Gorgias  may 
be  omitted  in  the  representation  of  the  tableau,  the  statues 
alone  being  exhibited.  This  may  be  desirable  where  cos- 
tumes appropriate  for  the  two  gentlemen  cannot  be  obtained. 
In  this  case,  the  central  figure  should  stand  with  her  face 
towards  the  audience,  presenting  a  front  view,  her  eyes 
being  closed.  The  other  ladies  stand  looking  up  towards 
the  face  of  the  central  lady,  their  eyes  being  closed,  and 
their  hands  in  the  position  already  described.  Music  very 
soft  and  low. 

The  costume  of  the  lady  representing  Phryne  is  the  same 
as  that  of  La'is,  with  the  exception  of  the  laurel  wreath. 
Wigs  of  white  worsted  placed  over  the  hair  will  give  a  very 
correct  imitation  of  marble  to  all  statue  figures. 


228  PARLOR   TABLEAUX. 


THE  LIGHT  OF  THE   HAREM. 

TWO    LADIES. 

"  For  me,  for  me ! " 
Cried  Nourmahal  impatiently,  — 
"  Oh  !  twine  that  wreath  for  me  to  night !  " 
Then  rapidly,  with  foot  as  light 
As  the  young  musk-roe's,  out  she  flew 
To  cull  each  shining  leaf  that  grew 
Beneath  the  moonlight's  hallowing  beams 
For  this  enchanted  wreath  of  dreams,  — 
Anemones,  and  seas  of  gold, 
And  new-blown  lilies  of  the  river, 
And  those  sweet  flowerets  that  unfold 
Their  buds  on  Camadeva's  quiver. 


No  sooner  was  the  flowery  crown 

Placed  on  her  head  than  sleep  came  down, 

Gently  as  nights  of  summer  fall, 

Upon  the  lids  of  Nourmahal ; 

And  suddenly  a  tuneful  breeze, 

As  full  of  small,  rich  harmonies 

As  ever  wind  that  o'er  the  tents 

Of  Azab  blew  was  full  of  scents, 

Steals  on  her  ear,  and  floats  and  swells, 


THE    LIGHT    OF    THE    HAREM.  229 

Like  the  first  air  of  morning  creeping 
Into  those  wreathy,  Red-Sea  shells, 
Where  Love  himself,  of  old,  lay  sleeping. 

MOOEB. 

THIS  beautiful  tableau,  from  Moore's  poem  of  "  Lalla 
Rookh,"  represents  Nourmahal,  the  heroine  of  the  portion  of 
the  poem  entitled  "  The  Light  of  the  Harem,"  after  she  has 
been  banished  by  the  sultan,  Selim,  for  some  slight  differ^ 
ence  between  them.  She  is  attended  by  a  faithful  slave 
named  Namouna,  who  is  an  enchantress  versed  in  the  most 
pfotent  magic  arts,  and  who,  at  her  mistress's  request, 
pledges  herself  to  cast  a  spell  over  Selim,  and  restore  him 
to  her  lady's  heart.  The  scene  represented  discloses  the 
enchantress  crowning  the  lady  with  flowers,  and  throwing 
her  into  a  deep  slumber,  while  she  goes  to  practise  her 
magic  upon  Selim.  A  couch  of  pillows  should  be  made 
just  back  of  the  centre  of  the  stage,  and  covered  with 
crimson  or  blue  cambric,  with  the  end  towards  the  right 
raised  nearly  perpendicular  by  pillows  piled  together.  The 
lady  lies  upon  the  couch,  her  back  resting  upon  the  pile  of 
pillows  upon  the  left ;  her  face  turned  towards  the  right,  the 
left  side  towards  the  audience  ;  her  arms  crossed  carelessly 
over  her  bosom  ;  her  lower  limbs  extended  towards  the 


230  PARLOR   TABLEAUX. 

right,  the  right  crossed  over  the  left  limb.  Her  head  is  in- 
clined slightly  forward  towards  the  right,  and  her  eyes  closed, 
as  in  sleep.  She  wears  a  long,  loose  white  robe,  cut  low  in  the 
neck,  and  covering  the  feet ;  or  open  in  front,  showing  full 
white  trousers,  fastened  at  the  ankle  ;  long  blue  scarf,  fringed 
with  gold  ;  wide  drapery  of  blue,  lined  with  yellow,  attached 
at  the  shoulders,  and  lying  over  the  pillow  ;  and  a  wreath 
of  beautiful  flowers  upon  her  hair,  which  hangs  in  curls 
behind.  A  small  guitar  lies  at  her  left  side. 

The  lady's  companion  kneels  behind  the  couch,  facing  the 
audience.  Her  left  hand  is  raised,  touching  the  wreath  upen 
the  front  of  the  lady's  head ;  her  right  is  extended,  as  if 
making  passes  over  the  lady's  face  ;  while  her  face  is  turned 
towards  her  with  an  earnest  expression.  She  wears  a  long 
robe  of  pink  cambric  with  wide  drapery-sleeves,  long  strand 
of  large  black  beads  around  her  neck,  garland  of  flowers  in 
her  lap,  and  plain  gold  band  upon  the  front  of  her  head  ;  the 
hair  combed  back,  and  hanging  behind.  A  bright-blue  or 
white  light  should  be  thrown,  so  as  to  fall  upon  the  lady's 
face ;  and  the  music  should  be  soft,  and  pleasing  in  style. 


THE  BOUQUET  OF  BEAUTY.  231 

* 

THE  BOUQUET  OF  BEAUTY. 

THREE   LADIES. 

THIS  tableau  comprises  a  group  of  three  young  ladies,  of 
good  form  and  features,  who  should  be  carefully  and  ele- 
gantly dressed. 

The  central  figure  of  the  group  should  be  represented  by 
a  lady  somewhat  taller  than  her  companions.  She  should 
stand  with  her  left  side  towards  the  audience,  her  face 
towards  the  right,  looking  upwards,  so  as  to  afford  a  three- 
quarters  view  to  the  audience.  She  should  be  dressed  in 
lavender,  corn,  or  scarlet-colored  silk,  with  low  neck  and 
sash,  and  a  black-lace  mantilla  or  scarf  thrown  over  the 
arms,  and  hanging  below  the  waist  behind.  Her  hair 
should  be  combed  back  in  puffs,  and  she  should  wear  on  her 
head  a  wreath  of  flowers.  Before  her,  in  her  right  hand, 
she  may  hold  a  bouquet  of  flowers  ;  while  her  left  hand  is 
extended,  the  fingers  pointing  to  the  flowers.  One  of  the 
ladies  should  stand  on  the  left  of  the  central  figure,  leaning 
on  her  right  shoulder,  with  her  hands  crossed  upon  it.  She 
should  le  of  light  complexion ;  and,  as  she  looks  towards 


232  PARLOR   TABLEAUX. 

the  audience,  her  head  should  be  inclined  towards  the  left, 
her  hair  falling  over  her  shoulders.  Her  dress  should  be 
of  white  or  light-blue  silk,  with  low  neck  and  lace  under- 
sleeves.  She  should  wear  a  pleased  expression. 

The  lady  on  the  right  should  be  dressed  in  more  sombre 
colors  than  her  companions.  She  should  stand  with  her 
head  towards  the  right,  looking  towards  the  audience,  with 
rather  a  sad  expression,  her  right  hand  being  extended 
towards  the  flowers  held  by  the  lady  in  the  centre.  Her 
hair  should  be  combed  plainly,  and  she  should  wear  on  her 
head  a  black-lace  veil.  In  this  position,  her  waist,  below  the 
shoulders,  will  be  concealed  by  the  taller  lady  from  the  audi- 
ence. Clouds  of  blue  smoke  may  be  produced  in  the  back- 
ground ;  and  a  bright-blue  light  should  be  thrown  from  the 
left  upon  the  figures  at  that  side  of  the  stage,  leaving  the 
lady  on  the  right  heavily  shaded.  Music  soft. 


VISION  OF   MARGUERITE. 

TWO  GENTLEMEN  AND  ONE  LADY. 

Faust.  What  wilt  thou  do  for  me  ? 

Mephistopheles.  Any  thing  in  the  world ;  all  things.    But  say,  first, 
what  would  you  have.    Abundance  of  gold  ? 


VISION    OF    MARGUERITE.  233 

Faust.  No:  I  would  have  a  treasure  which  contains  them  all.  I 
wish  for  youth. 

Mephis.  Very  well !  very  well !  very  well !   I  can  indulge  the  caprice. 

Faust.     Well ;  and  what  must  I  give  in  return  ? 

Mephis.  A  trifle,  —  almost  nothing.  Here  shall  I  be  at  thy  service ; 
but  down  yonder  thou  shalt  be  at  mine. 

Faust.     Down  where  ? 

Mephis.  Down  yonder.  Come  on.  Sign!  But  what!  Thy  hand 
trembles.  What  can  be  done  to  encourage  thee  ?  See !  youth  calls 
thee  !  Lift  thine  eyes.  (  Vision  of  MARGUERITE  at  the\vheel.  Rises.) 

Faust.     Wonderful ! 

Mephis.  Ah,  ha !     How  do  you  like  it  ? 

Faust.     Give  me  the  pen. 

Mephis.  Come  on,  then  !  And  now*  master,  I  invite  thee  to  a  cup 
in  which  there  is  neither  poison  nor  death,  but  young  and  vigorous  life. 

Faust.    Lead  on,  lead  on  !     O  beautiful,  adorable  vision  ! 

Mephis.  Come  on ! 

Faust.     I  shall  see  her  again. 

Mephis.  To-day,  doubtless. 

FAUST,  acti. 

THIS  beautiful  tableau  is  from  the  celebrated  opera  of 
"  Faust,"  and  represents  Mephistopheles  showing  to  Faust, 
previous  to  his  transformation,  the  vision  of  Marguerite,  a 
beautiful  girl  whom  he  is  destined  afterwards  to  meet.  A 
table  with  an  hour-glass,  large  book,  and  papers,  is  placed 
upon  the  right  of  the  stage,  with  an  old-fashioned  arm- 
chair beside  it.  Faust  stands  at  the  right  of  the  centre  of 
the  stage,  his  face  turned  from  the  audience,  looking  to- 


234  PABLOR  TABLEAUX. 

wards  Marguerite,  who  appears  at  the  back  of  the  stage. 
His  head  is  inclined  forward,  and  his  hands  clasped  to  his 
breast,  as  he  gazes  at  the  vision  with  an  expression  of  won- 
der and  delight.  He  wears  a  long  black  robe  with  drapery- 
sleeves,  small  black-velvet  cap,  and  full  white  beard. 

The  gentleman  representing  Mephistopheles  should  be 
tall,  and  with  rather  sharp  features.  He  stands  at  the  left 
of  the  centre  of  the  stage,  with  his  left  hand  upon  his  nip, 
his  right  hand  raised,  with  finger  pointing  to  the  figure 
of  Marguerite  at  the  back  of  the  stage.  He  wears  a  black 
mustache  and  pointed  imperial ;  wig  of  long  black  hair, 
with  his  eyes  made  up  with  gold-leaf  round  the  lashes ;  his 
face  having  a  malicious  but  triumphant  expression  as  he 
looks  towards  Faust.  His  dress  is  a  red  waist  with  long 
sleeves ;  red  trunks  slashed  with  black ;  red  stockings  and 
slippers ;  black-velvet  cloak,  trimmed  with  red,  thrown 
back  over  the  shoulders ;  and  black  cap  with  long  red 
feather. 

Marguerite  is  upon  a  small  stage  at  the  back,  about  two 
feet  above  the  level  of  the  main  stage.  She  is  seated  in 
the  centre,  with  an  old-fashioned  spinning-wheel  before  her, 
with  her  right  hand  in  her  lap  ;  her  left  extended,  holding 
a  thread  which  passes  over  the  wheels.  Her  costume  is  a 


THE   ENCHANTED   BRIDE.  235 

dress  of  light  blue,  with  low  neck  and  short  sleeves, 
trimmed  with  white.  She  should  be  of  light  complexion ; 
and,  as  she  is  seated,  her  face  is  turned  towards  the  audi- 
ence with  a  smiling  expression.  Where  a  wheel  cannot  be 

•V 

obtained,  she  may  be  represented  as  weaving  a  garland  of 
flowers.  A  bright-blue  light  should  be  thrown  upon  the 
lady,  and  occasional  flashes  of  red  light  upon  the  gentle- 
men. Music  very  soft.  An  opening  three  feet  wide 
should  be  made  in  the  curtains  in  front  of  the  extra  stage, 
which  should  be  masked  by  a  strip  of  the  same  color  as  the 
curtains  tacked  on  the  front ;  or,  if  scenery  is  used,  the 
opening  should  be  surrounded  by  imitation-clouds,  painted 
on  pasteboard ;  a  portion  of  which,  large  enough  to  show 
the  figure  of  the  lady,  is  cut  out. 


THE   ENCHANTED   BRIDE. 

ONE    GENTLEMAN    AND    FOUR     LADIES. 

Gently !    Lo,  the  warrior  kneels  ! 
.  Soft  the  lovely  hand  he  steals  ; 
Soft  the  kiss,  and  soft  to  clasp ; 
But  the  warder  leaves  her  grasp ; 
Lightning  flashes,  rolls  the  thunder. 


236  PARLOR   TABLEAUX. 

Gnyeth  startles  from  her  sleep. 

Totters  tower,  and  trembles  keep, 

Burst  the  castle-walls  asunder. 

Fierce  and  frequent  were  the  shocks. 

Melt  the  magic  halls  away; 

But  beneath  their  mystic- rocks, 

In  the  arms  of  bold  De  Vaux, 

Safe  the  princess  lay,  — 

Safe  and  free  from  magic  power, 

Blushing  like  the  rose's  flower 

Opening  to  the  day. 

And  round  the  champion's  brows  were  bound 

The  crown  the  Druidess  had  wound 

Of  the  green  laurel-bay  ; 

And  this  was  what  remained  of  all 

The  wealth  of  each  enchanted  hall, — 

The  garland  and  the  dame  ; 

But  where  should  warriors  seek  the  meed 

Due  to  high  worth  for  daring  deed, 

Except  from  Love  and  Fame  ? 

BRIDAL  OF  TRIERMAIN,  canto  3. 


THIS  very  pleasing  picture  is  from  Scott's  legend  of  the 
"'  Bridal  of  Triermarn."  The  legend  is  that  Guyeth,  the 
daughter  of  King  Arthur,  and  a  beautiful  lady  descended 
from  the  Genii,  whom  Arthur  had  deserted,  having  been  in- 
structed by  her  mother  to  take  vengeance  upon  the  king  in 
some  way,  obeys  by  allowing  twenty  knights  of  the  Round 


THE    ENCHANTED    BRIDE.  237 

Table  to  be  slaughtered  in  a  tournament  for  her  hand,  and 
for  this  cruelty  is  condemned  by  Merlin  to  long-continued 
sleep  in  an  enchanted  castle.  The  fortress  in  which  she  is 
confined  is  only  visible  at  certain  times,  and  the  entrance 
then  almost  unattainable.  But  the  Baron  of  Triermain, 
who  has  seen  the  lady  in  a  dream,  determines  upon  her 
rescue  from  the  castle ;  and,  after  a  search  of  twelve 
months,  at  length  discovers  the  entrance,  vanquishes  all 
the  guardians  of  the  captive,  and  restores  her  to  the  world ; 
the  spell  of  enchantment  having  lasted  five  hundred  years. 
The  scene  of  the  tableau  represents  the  knight  in  the 
chamber  of  the  enchanted  castle,  and  the  lady,  who  is  just 
restored  to  consciousness,  rising  from  her  couch.  There 
are  also  four  other  ladies,  guardians  of  Gnyeth,  who  vainly 
endeavor  to  tempt  him  from  accomplishing  his  object.  A 
lounge  covered  with  scarlet  or  light-blue  colored  material 
should  be  placed  at  the  back  of  the  stage,  upon  a  low,  nar- 
row box  covered  with  green,  to  raise  it  above  the  level  of 
the  floor.  Curtains  should  be  placed  in  front  of  the  lounge, 
and  looped  up  on  the  sides. 

The  lady  is  in  the  position  of  rising  from  the  couch, 
the  upper  portion  of  the  body  raised  to  a  sitting  position  ; 
her  right  hand  upon  her  knee,  and  her  left  resting  upon 


238  PARLOR   TABLEAUX. 

that  of  the  gentleman,  looking  at  him  with  a  smile  upon 
her  face  and  a  half-surprised  expression.  Her  costume  is 
an  elegant  crimson  dress  trimmed  with  gold,  with  low  neck, 
and  drapery-sleeves^  reaching  to  the  elbow ;  and  a  coro- 
net of  pearl  beads  upon  her  hair,  which  is  allowed  to  fall 
loosely  over  her  shoulders.  The  lady  should  be  of  good 
features  and  dark  complexion. 

The  knight  stands  at  the  right  of  the  lady,  beside  the 
couch :  he  leans  forward,  with  his  arms  around  her  waist, 
raising  her  towards  himself,  and  looking  at  her  with  a 
pleased  yet  earnest  expression.  He  is  dressed  in  a  tunic 
of  purple  or  scarlet  material,  velvet  leggings  ornamented 
with  small  metal  plates,  sword-belt  and  sword,  and  san- 
dals. He  should  be  tall,  and  of  good  features. 

Two  of  the  young  ladies  are  upon  the  right  of  the  stage, 
kneeling,  at  a  distance  of  two  or  three  feet  apart ;  one  near 
the  front,  the  other  in  a  line  with  the  first,  farther  back  to- 
wards the  centre :  their  hands  are  extended  towards  the 
knight,  holding  wreaths  of  flowers  towards  him,  and  look- 
ing at  him  with  a  smiling  expression.  They  should  be  of 
attractive  appearance,  and  dressed  in  short  white-muslin 
dresses,  white  stockings,  and  slippers ;  with  flowers  in  the 
hair ;  and  a  sash  of  red  or  blue  extending  over  the  shoul- 


EMANCIPATION.  239 

ders,  and  hanging  at  the  side.  On  the  opposite  side  of  the 
stage,  near  the  front,  still  another  lady,  similarly  dressed, 
and  in  a  similar  position,  kneels  ;  while  a  few  feet  back,  on 
the  left,  a  lady  dressed  in  white  drapery  hanging  in  folds, 
with  a  laurel-wreath  upon  her  head,  kneels,  extending  a 
crown  of  green  leaves  toward  the  knight.  A  bright-blue 
light  should  be  thrown  upon  the  knight  and  the  lady,  and  a 
white  light  upon  the  ladies  in  the  foreground  ;  the  curtains 
at  the  back  partially  separating  the  two  groups.  Music, 
"  I  dreamt  I  dwelt  in  marble  halls,"  from  Balfe's  "  Bohe- 
mian Girl." 


EMANCIPATION. 

ONE   GENTLEMAN  AND   TWO   LADIES. 

THIS  is  a  very  showy  tableau,  and  will  answer  well  for  a 
finale.  The  prominent  figure  of  the  group,  the  Genius  of 
Liberty,  should  be  represented  by  a  young, lady  of  dark  com- 
plexion, tall,  and  with  straight  features.  Her  hair  should 
be  combed  back,  hanging  down  her  shoulders  ;  while  on  her 
head  she  wears  a  coronet  with  stars.  Her  form  is  draped 
in  white,  with  low  neck  and  bare  arms ;  and  the  drapery 


240  PARLOR   TABLEAUX. 

looped  up,  showing  the  right  limb.  In  her  left  hand  she 
holds  a  scroll  extended  ;  and  in  her  right,  close  to  her  bosom, 
a  green  branch,  for  the  olive-branch  of  peace.  She  stands 
with  her  face  slightly  turned  towards  the  right,  looking  for- 
ward. On  her  left,  keeling  on  her  knees,  her  arms  crossed 
over  her  bosom,  and  looking  upward  towards  the  first- 
named  figure,  is  the  other  lady,  who  represents  a  mulatto. 
On  her  head  she  wears  a  handkerchief  for  a  turban  ;  while 
around  her  form  the  Union  flag  is  draped,  showing  her  bare 
neck.  The  male  figure  of  the  group  represents  a  negro, 
dressed  in  shirt  and  striped  trousers.  He  kneels  upon  his 
left  knee,  with  the  right  foot  extended,  and  holding  over  the 
head  of  the  first  figure,  at  whom  he  looks  beseechingly,  the 
Union  flag.  A  strong  red  light  with  thick  smoke  should  be 
thrown  upon  the  picture.  Music,  "  Hail,  Columbia  !  " 


THE  GENIUS   OF   LIBERTY. 

ONE   LADY. 

THE  lady  personating  this  picture  should  be  tall,  of  dark 
complexion,  and  with  straight  features.  She  should  stand 
looking  towards  the  left,  her  face  towards  the  audience, 


MAKING   UP   THE    QUARREL.  241 

with,  her  left  arm  bent,  her  hand  to  her  forehead,  as  she 
gazes  out  with  an  earnest  expression.  She  is  dressed  in  a 
drapery  of  blue,  looped  up  above  the  left  knee,  revealing 
that  limb,  which  is  advanced  in  front  of  the  right.  She 
should  wear  over  the  waist  a  drapery  of  some  bright-red  or 
white  material,  covering  the  right  arm  nearly  to  the  wrist, 
but  allowed  to  flow  loosely  under  the  left  arm,  leaving  the 
neck  and  left  arm  uncovered.  In  her  right  hand  she  should 
carry  an  American  flag,  slanting  towards  the  right.  On  her 
head  she  should  wear  a  crown  of  stars,  and  her  hair  should 
be  allowed  to  fall  over  her  shoulders.  If  convenient,  another 
larger  flag  may  be  arranged  for  a  background. 

Alternate  lights  of  red,  white,  and  blue,  may  be  thrown 
on  the  picture,  if  practicable  ;  if  not,  a  single  light  of  either 
color  will  answer.  Music,  "  The  Red,  White,  and  Blue." 


MAKING  UP   THE  QUARREL. 

ONE   YOUNG    BOY   AND   A   GIRL. 

THE  characters  in  this  tableau  should  be  represented  by 
a  boy  and  a  girl  of  from  four  to  six  years  of  age.     The  girl 
should  be  of  light,  the  boy  of  dark  complexion.     The  boy 
16 


242  PARLOR   TABLEAUX. 

should  stand  at  the  left  of  the  centre  of  the  stage,  very" 
straight,  with  his  hands  at  his  sides,  and  with  a  frown  on  hig 
face,  looking  towards  the  audience.  His  dress  should  be 
a  simple  frock  of  some  dark  material,  with  short  sleeves. 
The  girl  should  be  dressed  in  a  white-muslin  dress,  with 
short  sleeves  and  low  neck,  with  a  small  cape  just  covering 
her  right  shoulder,  and  thrown  back  so  as  to  show  nearly 
the  whole  of  her  neck  and  waist.  Her  arms  are  clasped 
around  her  brother's  neck,  her  left  over  his  right.  She 
should  be  looking  towards  the  left  with  a  hopeful  expres- 
sion, the  right  side  of  her  face  towards  the  audience,  and 
standing  so  close  to  the  boy,  that  the  right  side  of  his  face  is 
partially  concealed  from  the  audience.  Her  hair  should  be 
dressed  in  ringlets.  A  bright  white  light  should  be  thrown 
from  the  right  upon  the  girl's  face,  shading  the  boy's  face. 
Music  lively. 


FAITH.  243 

FAITH. 

ONE    LADY. 

My  faith  can  see  with  weary  eye 

The  dawn  of  heaven  on  earth's  blue  sky ; 

And  from  afar 
Shines  on  my  soul  the  morning-star. 

PALMER'S  celebrated  statue  furnishes  the  subject  for  this 
tableau,  which  is  readily  produced,  and,  like  others  of  this 
kind,  very  effective.  On  the  right  of  the  stage,  an  irregular 
pile  of  boxes,  and  clothing  of  various  kinds,  covered  with 
white  cloth,  to  imitate  the  pile  of  white  marble  of  the 
sculptor,  should  be  placed.  A  wooden  cross  should  be  pre- 
pared, painted  white  or  covered  with  white  paper,  and  placed 
behind  the  pile  of  marble,  half  facing  to  the  right.  This 
structure,  with  the  cross,  should  be  quite  high :  perhaps 
about  eight  feet  high  will  answer  very  well. 

The  lady  personating  Faith  should  stand  in  the  centre 
of  the  stage,  her  face  turned  towards  the  right,  so  that  the 
side  only  is  towards  the  audience.  Her  right  foot  is  placed 
in  advance  of  her  left  as  if  moving  forward,  her  hands  clasped 
at  her  right  side.  She  gazes  upward  at  the  cross  with  an 


244  PARLOR   TABLEAUX. 

earnest,  trusting  expression.  She  is  dressed  in  a  long  flow- 
ing robe  of  white  drapery,  with  low  neck  and  wide  sleeves. 
The  robe  is  gathered  up  a  little  on  the  right  from  the  foot 
which  she  is  advancing.  She  should  be  of  straight  features, 
with  hair  combed  back  and  tied  behind,  very  heavily  pow- 
dered with  chalk  or  puff-powder  to  represent  marble.  The 
lady  should  be  without  slippers,  or  any  covering  for  the  feet 
except  white-cotton  stockings. 

Music,  some  sacred  hymn.  A  bright  white  light  should  be 
thrown  from  the  left  upon  the  figure,  leaving  her  right  side 
heavily  shaded. 


DEATH   OF  HINDA. 

(From  "  The  Fire- Worshippers.") 
FOUR    GENTLEMEN    AND   ONE    LADY. 

But  see  !  —  what  moves  upon  the  height  ? 
Some  signal !    "Pis  a  torch's  light. 
What  bodes  its  solitary  glare  ? 
In  gasping  silence  toward  the  shrine 
All  eyes  are  turned :  thine,  Hinda,  thine, 
Fix  their  last  fading  life-beams  there. 


DEATH   OF   HINDA.  245 

'Twas  but  a  moment :  fierce  and  high 
The  death-pile  blazed  into  the  sky, 
And  far  away,  o'er  rock  and  flood, 
Its  melancholy  radiance  sent ; 
While  Hafed,  like  a  vision,  stood 
Revealed  before  the  burning  pyre, 
Tall,  shadowy,  like  a  Spirit  of  Fire 
Shrined  in  its  own  grand  element ! 
"  'Tis  he !  "  the  shuddering  maid  exclaims  • 
But,  while  she  speaks,  he's  seen  no  more  : 
High  burst  in  air  the  funeral  flames, 
And  Iran's  hopes  and  hers  are  o'er  ! 

One  wild,  heart-broken  shriek  she  gave, 
Then  sprang  as  if  to  reach  that  blaze, 
Where  still  she  fixed  her  dying  gaze, 
And,  gazing,  sank  into  the  wave,  — 
Deep,  deep,  where  never  care  or  pain 
Shall  reach  her  innocent  heart  again  ! 

MOORE. 

THIS  scene,  from  Moore's  poem  of  "Lalla  Rookh,"  forms 
one  of  the  most  effective  stage-tableaux  presented  in  this 
volume,  and  requires  no  more  preparation  than  many  others 
which  are  far  less  striking  and  original.  The  incidents  of 
this  subject  are  substantially  as  follows.  Hinda,  the 
daughter  of  a  Moslem  prince,  is  in  love  with  a  Gheber,  or 
fire-worshipper,  who,  unknown  to  her,  is  Hafed,  her  father's 
deadliest  enemy.  In  a  war  with  the  Moslems,  she  is 


246  PARLOR   TABLEAUX. 

carried  off  by  her  Gheber  lover,  whom  she  then  learns  is 
Hafed.  He  learns  from  her  that  one  of  his  troop  has  be- 
trayed him  to  the  Moslems,  and  that  he  is  to  be  taken  on 
the  night  of  the  day  in  which  she  informs  him ;  and  having 
determined  with  his  few  followers  to  sacrifice  himself  to  the 
fire-god,  when  all  hope  was  gone,  he  prepares  for  the  sacri- 
fice, and  sends  Hinda  back  to  her  father.  The  boat  carrying 
Hinda  is  about  crossing  the  lake,  at  night,  when  a  brilliant 
light  1s  seen  from  a  cliff  on  the  shore ;  and  the  startled  girl 
rises  to  see  her  lover  cast  himself  upon  the  burning  pile  ;  and 
stretching  her  arms  towards  the  flame,  with  a  wild  shriek, 
she  leaps  into  the  waves.  There  should  be  a  strip  of  can- 
vas or  paper,  painted  blue,  placed  across  the  stage,  about 
four  feet  from  the  back,  extending  from  right  to  left,  to 
represent  water.  Behind  this  strip,  a  frame  of  wood  or 
pasteboard,  about  ten  feet  long,  and  covered  with  canvas 
or  paper,  painted  brown  in  imitation  of  a  boat,  is  placed : 
the  precise  shape  is,  of  course,  immaterial ;  and  the  article 
can  be  put  together,  so  as  to  show  well  from  the  front,  with 
but  little  trouble.  A  pole  may  be  placed  near  the  right  end 
of  the  boat,  upon  which  is  fastened  a  sheet,  with  narrow 
sticks  run  through  the  hem,  for  a  square-sail.  The  young 
lady  representing  Hinda  stands  upon  a  small  box  placed 


DEATH    OF    HINDA.  247 

near  the  edge  of  the  boat,  near  the  centre.  Her  left  foot 
rests  upon  the  box  ;  her  right  is  extended  forward  over  the 
edge  of  the  boat,  as  if  leaping  off;  her  arms  are  raised 
above  her  head,  and  extended  towards  the  left ;  her  body  is 
inclined  forward,  her  head  towards  the  left,  and  her  face 
looking  upwards  with  a  tender  but  resolute  expression. 
She  wears  a  long  white  robe,  trimmed  at  the  wrists  and 
shoulders  with  gold  and  blue,  and  cut  high  in  the  neck ; 
broad  girdle  and  sash  of  yellow  and  blue  (or  a  short  white 
skirt,  with  white  pantaloons  and  slippers)  ;  head-dress  of 
pearl  beads ;  and  hair  combed  back,  and  hanging  loosely 
behind.  She  should  be  of  dark  complexion  and  handsome 
features.  Upon  the  right  of  Hinda,  just  in  front  of  the 
sail,  the  gentleman  representing  the  captain  of  the  Gheber 
guard  stands.  His  right  leg  is  bent  at  the  knee,  and  ad- 
vanced, his  left  extended  backward :  his  left  hand  grasps 
the  handle  of  an  oar,  the  blade  of  which  extends  over  the 
forward  edge  of  the  boat.  His  right  arm  is  extended,  as  if 
endeavoring  to  grasp  Hinda  ;  his  face  turned  towards  her  ; 
and  his  body  inclined  towards  the  left.  He  wears  a  long 
crimson  tunic,  open  in  front,  and  cut  low  in  the  neck ;  white 
shirt  cut  low  in  the  neck,  loose  yellow  trousers,  and  sandals  ; 
orange-colored  belt ;  small  cap,  with  tassel,  on  the  back  of 


248  PARLOR   TABLEAUX. 

his  head ;  and  black  beard  and  mustache.  He  should  be 
of  dark  complexion ;  and  he  wears  an  alarmed  expression 
as  he  looks  towards  Hinda.  One  of  the  Ghebers  stands  di- 
rectly behind  Hinda,  farther  back  from  the  front.  His  left 
hand  grasps  the  sheath  of  a  sword,  which  he  holds  up  above 
his  waist ;  his  right  grasps  the  hilt.  His  body  is  inclined 
backward,  towards  the  right ;  and  his  face  turned  upward 
towards  the  fire  upon  the  left,  with  a  determined  expression. 
He  wears  a  blue  tunic,  open  in  front,  and  cut  low  in  the 
neck  ;  white  shirt,  trousers  and  slippers,  and  small  red  cap. 
At  the  left  of  this  young  man  stands  one  of  the  Ghebers. 
His  head  is  inclined  backward,  towards  the  right ;  his  face 
turned  towards  the  fire  at  the  left  with  an  amazed  expres- 
sion ;  his  right  hand  raised  to  his  forehead,  his  left  at  his 
side.  He  is  dressed  similarly  to  the  young  man  just  de- 
scribed ;  and  wears,  in  addition,  a  black  beard.  The  remain- 
ing gentleman  kneels  at  the  extreme  left  of  the  boat,  his 
hands  clasped,  his  head  inclined  backwards,  and  face  turned 
upward  towards  the  fire  with  an  expression  of  fear.  He  is 
dressed  similarly  to  the  last  gentleman  mentioned.  A 
bright-red  light,  and  smoke,  should  be  made  at  the  left,  hung 
high,  or  raised  some  distance  from  the  floor  of  the  stage,  so 
as  to  fall  upon  the  group  as  if  from  a  lofty  cliff.  The 
music  should  be  alternately  loud  and  soft. 


PAST,   PRESENT,   AND    FUTURE.  249 

PAST,   PRESENT,   AND   FUTURE. 

TWO  LADIES  AND  TWO  GENTLEMEN. 

THIS  is  a  very  pleasing  domestic  tableau,  representing  a 
family  group  of  an  old  man,  his  daughter,  and  grand-chil- 
dren, a  boy  and  a  young  girl.  The  old  man  should  be 
seated  a  little  in  the  rear  of  the  centre  of  the  stage  in  an 
old-fashioned  arm-chair,  facing  a  little  towards  the  left : 
his  right  arm  is  around  the  boy's  neck,  who  stands  close  to 
his  right  side  ;  and  the  boy's  left  hand  is  clasped  in  his. 
The  character  personated  is  supposed  to  be  a  retired  French 
navy-officer,  and  may  be  represented  as  such,  or  in  the  plain 
dress  of  a  gentleman.  The  most  appropriate  costume  is  a 
dark-blue  coat,  white  waistcoat,  black  pants,  and  top-boots. 
His  face  is  turned  towards  the  left,  looking  down  toward 
the  little  girl,  who  is  at  his  feet :  his  hair  should  be  white, 
the  forehead  bald  ;  and  he  wears  a  white  mustache  and  im- 
perial. The  young  lady  stands  to  the  left  of  the  old  man, 
with  her  right  hand  resting  on  the  back  of  the  chair ;  her 
head  slightly  inclined  towards  the  left,  and  looking  toward 
the  audience.  She  is  dressed  in  a  handsome  white  evening- 


250  PARLOR   TABLEAUX. 

dress,  with  lace  bertha,  and  drapery-sleeves.  The  boy 
stands  upon  the  right  of  the  old  man,  close  to  him,  with  his 
legs  crossed  naturally,  looking  down  at  the  little  girl,  who 
is  at  the  left:  he  is  dressed  in  a  dark-blue  navy-jackej, 
white  waiscoat  and  trousers,  slippers,  and  white  stockings. 
The  young  girl  is  at  the  feet  of  the  old  man,  half  reclining 
upon  the  floor :  she  holds  a  doll  in  her  right  arm ;  while  her 
left  hand  is  raised,  and  the  forefinger  pointed,  as  if  speak- 
ing to  the  doll.  She  wears  a  dress  of  white  muslin,  with 
low  neck  and  short  sleeves ;  and  a  blue  sash.  She  should 
be  of  light  complexion,  with  her  hair  curled  in  ringlets  ; 
her  face,  in  the  position  described,  being  turned  towards  the 
right.  On  the  right  of  the  stage,  a  decanter,  with  glasses, 
and  a  plate  of  fruit,  may  be  placed ;  and  on  the  left  a  simi- 
lar table,  upon  which  is  a  bouquet  of  flowers.  A  white 
light  may  be  thrown  from  the  left  upon  the  ladies,  leaving 
the  rest  of  the  picture  in  the  shade.  Music,  piano. 


THE  CRUSADER'S  TRIUMPH.  251 

THE  CRUSADER'S   TRIUMPH. 

ONE    GENTLEMAN     AND     FOUR    LADIES. 

A  rude  Silenus  oft  the  days  of  old 

Have  seen  unclose,  and  yield  some  goddess  fair; 

But  never  yet  did  sylvan  image  hold 

Charms  such  as  issued  from  the  myrtle  rare  : 

For  forth  a  lady  stepped  with  golden  hair, 

With  angel  mien  and  grace, 

In  whom,  albeit  of  visionary  air, 

Einaldo  starts  Armida's  form  to  trace,  — 

The  same  expressive  eye,  fond  smile,  and  radiant  face. 

Sorrow  and  joy  into  her  looks  she  cast ; 

A  thousand  passions,  which  one  glance  betrays. 

"  And  art  thou  then,  indeed,  returned  at  last 

To  thy  forsaken  love?  "  she  pensive  says. 

"  Why  com'st  thou  hither,  my  beloved  ?  —  to  raise 

My  drooping  soul,  and  with  remembered  charms 

Solace  my  widowed  nights  and  lonely  days  ? 

Or  to  wage  war,  and  scare  me  with  alarms  ? 

Why  hide  thy  lovely  face  ?  why  show  those  threatening  arms  ?  " 

Thus,  as  she  wooes,  her  beautiful  bright  eyes 
Rueful  she  rolls,  and  pale  as  death  appears  ; 
Feigning  with  every  tear  the  sweetest  sighs, 
And  melancholy  moans,  and  bashful  fears. 


252  PARLOR   TABLEAUX. 

It  might  have  moved  a  heart  of  stone  to  tears 
To  hear  how  fondly  she  herself  deplored ; 
But  he,  unmoved  by  all  he  sees  and  hears, 
Cautious,  not  cruel,  to  the  plaints  she  poured 
No  longer  pays  regard,  but  draws  his  fatal  sword. 

TASSO. 

THIS  scene  represents  an  imaginary  incident,  supposed  to 
have  taken  place  at  the  time  of  the  Crusades,  and  is  related 
by  Tasso  in  his  famous  poem  upon  the  subject.  Rinaldo,  a 
knight  of  the  army  of  Crusaders,  is  informed,  that,  if  he 
would  triumph,  he  must  resist  the  blandishments  that  the 
sylvan  goddesses  of  the  woods  would  throw  around  him  as 
he  passed  through  ;  and  should  strike  down  a  tall  myrtle- 
tree  that  stood  above  all  other  trees  on  the  plain,  and  was 
the  fabled  abode  of  the  queen  of  the  wood-nymphs.  As  he 
arrives  at  the  grove,  the  various  nymphs  emerge  from  the 
trees,  carrying  viols,  lutes,  and  harps,  and  singing  sweet 
music  to  him  :  and,  as  he  reaches  the  myrtle-tree,  the  queen, 
who  has  assumed  the  shape  of  his  lady-love,  emerges,  and 
endeavors  to  tempt  him  from  his  course  ;  but,  in  spite  of  her 
protestations,  he  draws  his  sword,  and  cuts  down  the  tree, 
thus  destroying  the  spell,  and  insuring  his  triumph. 

The  knight  stands  a  little  to  the  left  of  the  centre  of  the 
stage,  with  his  left  hand  holding  the  scabbard  of  his  sword, 


THE  CRUSADER'S  TRIUMPH.  253 

while  his  right  is  upon  the  hilt,  and  it  is  drawn  about  one- 
fourth  of  the  distance  out ;  his  right  foot  is  advanced  ;  his 
face  is  towards  the  right,  showing  a  profile  view  to  the  au- 
dience ;  and  he  looks  towards  the  lady  with  a  stern  and 
earnest  expression.  He  wears  a  full  armor-dress,  with  leg- 
gings of  the  same ;  white  Crusader's  sur-coat  belted  at  the 
waist,  with  a  large  red  cross  upon  the  front,  reaching  to 
the  knees  ;  and  gilt  helmet,  with  plume  and  visor :  he  should 
be  of  dark  complexion,  with  straight  features.  The  lady 
personating  the  goddess  of  the  wood  should  be  young,  and 
of  light  complexion :  she  stands  at  the  right  of  the  stage, 
with  her  left  foot  extended  towards  the  left ;  her  face  turned 
one-third  towards  the  left ;  her  head  inclined  forward,  with 
eyes  cast  down  ;  and  her  arms  extended  forward  with  a  ges- 
ture of  welcome.  She  wears  a  white  robe,  with  low  neck, 
hanging  close  to  the  form,  and  looped  up  to  the  height  of 
the  knee,  above  the  left  foot ;  strands  of  pearl  beads  upon 
her  neck,  reaching  to  the  waist ;  streamers  of  white  lace  or 
muslin,  banded  at  the  shoulder,  and  floating  over  her  arms  ; 
hair  in  long  curls,  or  hanging  loosely  over  her  shoulders  ; 
and  flesh-colored  stockings.  Two  of  the  attendant  ladies 
stand  a  little  back  of  the  centre  of  the  stage,  between  the 
knight  and  the  lady  just  described  :  the  one  on  the  right  car- 


254  PARLOR   TABLEAUX. 

ries  a  harp  in  her  right  hand,  raised  to  the  height  of  her  head  , 
while  her  left  is  raised,  touching  the  strings.  The  lady  on  the 
left  carries  a  tambourine  in  the  same  position.  Their  faces 
are  turned  towards  the  knight  with  a  smiling  expression. 
They  wear  white  robes  hanging  close  to  the  form,  with  low 
neck  ;  mantle  of  blue  floating  behind  ;  and  flowers  in  their 
hair.  The  remaining  lady  stands  just  behind  the  knight, 
upon  the  left :  her  arms  are  raised  above  her  head,  extend- 
ing towards  the  front ;  and  the  right  foot  is  extended  towards 
the  right :  her  face  is  inclined  towards  the  right,  as  she 
looks  towards  the  knight  with  a  smiling  expression,  holding 
a  garland  in  her  hands.  She  wears  a  white  robe,  scarlet 
mantle,  and  flowers  in  her  hair.  A  white  light  should  be 
thrown  upon  the  group  as  the  curtain  rises,  changing  to  a 
bright  blue.  Music,  a  lively  waltz. 


AURORA. 

ONE   GENTLEMAN    AND   EIGHT  LADIES. 

THE  purposes  of  an  elaborate  stage-tableau  are  admirably 
displayed  in  this  mythological  subject.  The  scene  repre- 
sents the  goddess  Aurora,  accompanied  by  the  Hours  and 


AUEORA.  255 

Pleiads,  heralding  the  chariot  of  day,  which  pursues  its 
fiery  course,  driven  by  Apollo.  An  imitation  chariot  should 
be  made,  about  three  feet  in  height ;  the  frame  made  of  thin 
strips  of  wood,  and  the  outside  covered  with  pasteboard  or 
paper,  painted  blue,  and  heavily  gilt.  The  front  of  the  chariot 
should  be  curved  outwards,  and  the  sides  sloping  at  an 
angle  of  forty-five  degrees  towards  the  right :  there  will  be 
no  wheels  required,  as  the  sides  of  the  chariot  will  not  be 
visible  to  the  audience,  being  obscured  from  sight  by  the 
young  ladies  who  stand  in  front.  A  covered  box,  two  feet 
in  height,  should  be  placed  inside  the  chariot  for  a  seat.  A 
box  nearly  three  feet  in  he'ight,  and  covered  with  bright-blue 
paper,  is  placed  directly  in  front  of  the  chariot,  on  the  left. 
The  lady  personating  Aurora  stands  upon  this  box,  in  front 
of  the  chariot :  her  body  is  inclined  forward  towards  the  left, 
resting  upon  the  right  foot,  which  is  advanced  in  front  of  the 
left ;  her  left  arm  is  raised,  and  extended  forward  towards  the 
left,  holding  a  wreath  of  flowers  ;  her  right  is  extended  on  a 
level  with  her  breast,  towards  the  left,  holding  a  bouquet  and 
garland  of  flowers  ;  her  face  is  turned  towards  the  audience, 
looking  back  towards  the  centre  at  Apollo.  She  wears  a 
dress  of  light-blue  tarlatan,  cut  low  in  the  neck,  and  reach- 
ing just  below  the  knees,  with  full  sleeves  gathered  just 


256  PARLOR   TABLEAUX. 

above  her  elbows,  flesh  stockings,  a  long  white  mantle  or 
scarf  thrown  over  the  left  shoulder,  and  a  silver-paper  stai 
upon  the  front  of  her  head.     She  should  be  of  light  com 
plexion,    with    hair    thrown    back    in    rolls,    and    hanging 
behind. 

The  young  man  personating  Apollo  is  seated  upon  the 
box  within  the  chariot,  in  the  centre  of  the  stage :  his  face 
is  towards  the  left,  looking  straight  forward  in  that  direc- 
tion with  an  earnest  expression,  the  right  side  being  towards 
the  audience  ;  his  right  hand  grasps  the  side  of  the  chariot 
nearest  the  audience  ;  his  left  holds  the  reins,  which  extend 
over  the  front  edge  of  the  chariot,  6n  the  left  of  Aurora,  and 
are  fastened  to  some  point  outside  the  stage,  on  the  left.  He 
wears  a  tight  flesh-colored  jacket ;  bright-blue  cape,  thrown 
back  over  his  shoulders,  and  attached  to  his  waist  at  a  point 
between  his  shoulders  behind :  his  lower  limbs  rest  upon  a 
small  footstool,  and  are  covered  by  a  crimson  drapery  hang- 
ing in  front  like  a  carriage  Afghan.  He  should  be  from 
seventeen  to  twenty  years  of  age,  of  light  complexion,  curl- 
ing hair,  and  straight  features. 

The  Hours  are  represented  by  seven  young  ladies,  who 
stand  in  a  semicircle  around  the  chariot.  The  young  lady 
at  the  extremity  of  the  semicircle,  nearest  the  front,  stands 


AURORA.  257 

in  front  of  the  chariot,  near  the  left  of  the  stage  :  her  face 
is  turned  from  the  audience,  looking  towards  Apollo ;  her 
right  hand  is  extended  towards  Aurora ;  her  left  touches 
the  hand  of  her  nearest  companion  on  the  right.  She  wears 
a  white  robe  cut  low  in  the  neck,  with  long  white  streamers 
hanging  from  the  shoulders,  and  her  hair  arranged  in  braids 
coiled  behind.  She  should  be  of  light  complexion. 

Nearer  the  right  of  the  stage,  at  the  side  of  the  young 
lady  just  mentioned,  stands  another,  with  her  face  towards 
the  audience,  looking  toward  the  front  with  a  pleasant  ex- 
pression :  her  left  hand  is  held  by  the  lady  on  the  left ;  her 
right,  by  a  lady  on  her  other  side.  She  wears  a  dark-blue 
dress  cut  low  in  the  neck,  with  drapery-sleeves  reaching  to 
the  elbow,  and  a  silver  band  around  her  hair. 

Still  nearer  the  right  stands  a  third  young  lady.  Her 
face  is  towards  the  left,  the  side  being  towards  the  audience. 
Her  hands  are  clasped  in  those  of  the  ladies  on  either  side ; 
and  her  left  foot  is  placed  forward,  as  if  advancing.  She 
wears  a  scarlet  dress  cut  low  in  the  neck,  and  reaching  just 
below  the  knees,  flesh  stockings,  and  gilt  band  upon  her 
hair.  The  fourth  lady  stands  at  the  right,  in  a  line  just 
behind  the  chariot.  Her  face  is  towards  the  left,  her  hands 
held  by  ladies  on  either  side.  She  wears  a  white  dress  with 
17 


258  PARLOR   TABLEAUX. 

full  drapery-sleeves ;  a  heavy  white  drapery  thrown  back 
from  the  shoulders,  and  hanging  behind ;  and  a  white-lace 
veil,  wound,  turban-like,  around  her  head.  The  fifth  lady 
stands  on  the  side  of  the  chariot  nearest  the  back  of  the 
stage,  her  face  towards  the  audience,  her  right  hand  ex- 
tended towards  the  right,  her  left  held  in  that  of  the  lady  at 
her  left  side.  She  wears  a  crimson  dress  cut  low  in  the 
neck,  with  white  scarf  extending  from  her  waist  over  her 
left  shoulder,  and  her  hair  hanging  loosely  behind.  The 
sixth  lady  stands  on  the  same  side  of  the  chariot,  nearer  the 
left  of  the  stage,  her  face  turned  towards  the  left,  looking 
towards  Aurora,  her  hands  clasped  in  those  of  her  compan- 
ions on  either  side.  She  wears  a  pink-tarlatan  dress  cut 
low  in  the  neck  and  hanging  just  below  the  knee,  gilt  band 
upon  her  head,  and  hair  in  curls  behind.  The  seventh 
young  lady  stands  just  opposite,  with  her  face  turned 
towards  Apollo  with  a  pleased  expression,  her  left  hand 
extended  towards  Aurora,  her  right  held  by  the  lady  beside 
her.  She  wears  a  white  dress  cut  low  in  the  neck,  white 
streamers  from  the  shoulders,  and  hair  hanging  loosely  be- 
hind. She  should  be  of  dark  complexion. 

A    clear    white   light  should  be    thrown    from   the  left, 
mingled  with  a  not  very  intense  crimson  light,  so  as  to 


THE    BOUQUET   OF    LIBERTY.  259 

give  a  rose-color  to  the  united  light.     Music,  some  lively 
march. 

This  picture  is  a  very  appropriate  finale  for  an  evening's 
display,  if  sufficient  resources  are  at  Jaand  to  produce  it  as 
described. 


THE   BOUQUET   OF    LIBERTY. 

TWELVE   OR   MORE   YOUNG   LADIES. 

THIS  is  a  very  brilliant  tableau,  and  very  appropriate  for 
the  finale  of  an  evening's  entertainment.  The  characters 
should  be  personated  by  quite  young  ladies,  of  good  form 
and  features  ;  the  number  varying  according  as  they  are 
attainable  for  performance.  Their  costumes  should  be  uni- 
form dresses  of  white  muslin,  with  a  sash  of  red  and  blue 
silk  or  bunting  passing  over  the  shoulder,  and  under  one 
arm ;  the  dresses  being  cut  with  low  neck  and  short  sleeves. 
They  should  carry  in  their  hands  artificial  flowers  arranged 
around  hoops  of  rattan  or  wire,  and  held  up  so  as  to  form  a 
semicircle,  as  they  sit  looking  directly  towards  the  audience 
with  a  smiling  expression. 

They  should  be  arranged  so  as  to  form  a  pyramid,  —  four 


260  PARLOR   TABLEAUX. 

or  five  on  the  lower  tier,  three  or  four  on  the  next,  two  or 
three  on  the-  next,  and  so  on ;  making  four  or  five  rows. 
The  young  lady  surmounting  the  pyramid  should  wear  a 
Liberty-cap,  and  may  carry  a  small  Union  shield.  The 
pyramid  which  supports  the  young  ladies  should  be  formed 
of  boxes,  arranged  so  as  to  produce  the  desired  effect,  and 
covered  with  white-cotton  cloth. 

The  revolving  platform  may  be  introduced  in  this  tableau 
with  fine  effect,  the  young  ladies  being  arranged  on  a  cone- 
shaped  pyramid  on  the  platform ;  so  that,  when  it  revolves, 
a  symmetrical  figure  is  exhibited  on  all  sides.  A  larger 
number  of  performers  would,  of  course,  be  required  in  this 
arrangement. 

As  the  curtain  rises,  the  performers  are  exhibited  in  the 
position  described,  all  singing  a  verse  of  "  Columbia,  the 
Gem  of  the  Ocean,"  or  "  The  Star-spangled  Banner."  After 
singing  the  verse,  they  should  remain  motionless  while  a 
brilliant  red  light  is  thrown  upon  their  faces,  quickly  giving 
place  to  a  white  flame,  which,  in  turn,  is  followed  by  a  bright 
blue.  Music  the  same  as  that  of  the  song  used,  and  quite 
loud. 


THE  COURT  OF  THE  FAIRIES.  261 


THE  COURT  OF  THE  FAIRIES. 

ONE  YOUNG  GENTLEMAN,   A   BOY,   AND   TEN   YOUNG   LADIES. 

Fairy.  Over  hill,  over  dale, 

Thorough  bush,  thorough  brier, 

Over  park,  over  pale, 

Thorough  flood,  thorough  fire, 

I  do  wander  everywhere, 

Swifter  than  the  moone's  sphere ; 

And  I  serve  the  fairy  queen, 

To  dew  her  orbs  upon  the  green. 

The  cowslips  tall  her  pensioners  be  ; 

In  their  gold  coats,  spots  you  see ; 

Those  be  rubies,  fairy  favors  ; 

In  those  freckles  live  their  savors. 

I  must  go  seek  some  dew-drops  here, 

And  hang  a  pearl  in  every  cowslip's  ear. 
Farewell,  thou  lob  of  spirits  !  I'll  be  gone  : 
Our  queen  and  all  her  elves  come  here  anon. 

Puck.  The  king  doth  keep  his  revels  here  to-night : 
Take  heed  the  queen  come  not  within  his  sight ; 
For  Oberon  is  passing  fell  and  wrath, 
Because  that  she,  as  her  attendant,  hath 
A  lovely  boy,  stolen  from  an  Indian  king : 
She  never  had  so  sweet  a  changeling. 
And  jealous  Oberon  would  have  the  child 
Knight  of  his  train,  to  track  the  forest  wild; 


262  PARLOR   TABLEAUX. 

But  she,  perforce,  withholds  the  lovely  boy, 
Crowns  him  with  flowers,  and  makes  him  all  her  joy. 
And  now  they  never  meet  in  groves  or  green, 
By  fountains  clear,  or  spangled  starlight  sheen, 
But  they  do  square  that  all  their  elves,  for  fear, 
Creep  into  acorn-cups,  an<4  hide  them  there. 

SHAKSPEARE. 

THIS  scene  represents  the  fairy  queen,  Titania,  surround- 
ed by  her  suite  of  attendant  elves,  holding  her  own  private 
court  within  a  lonely  wood,  in  defiance  of  Oberon,  king  of 
the  fairies,  with  whom  she  has  quarrelled  on  account  of  a 
young  boy  she  has  stolen  for  a  page,  and  refuses  to  give 
up. 

At  the  back  of  the  stage,  a  series  of  three  or  four  boxes, 
from  one  to  four  feet  in  height,  covered  with  green,  should 
be  placed  to  represent  a  terrace  of  green  banks.  The 
young  lady  representing  Titania  is  seated  upon  the  second 
or  third  of  these  boxes :  her  right  arm  is  passed  around  the 
neck  of  the  young  boy  who  stands  beside  her ;  her  left 
places  a  crown  of  flowers  upon  his  head  ;  while  she  looks 
down  towards  him  with  a  fond  expression.  She  should  be 
young,  of  light  complexion,  and  with  hair  in  curls  ;  and 
should  wear  a  white  muslin  or  silk  dress,  with  train  of  the 
same,  or  of  lace  ;  long,  floating,  wing-shaped  sleeves  ;  lace 


THE   COURT    OF    THE    FAIRIES.  263 

sash  ;  and  a  coronet  of  pearl  beads  upon  the  front  of  her 
hair,  with  lace  and  flowers  hanging  behind.  She  may  also 
wear  a  small  bouquet  upon  her  bosom,  and  flowers  upon  her 
skirt.  A  young  boy  of  about  six  or  eight  years  of  age 
stands  beside  the  queen,  at  her  right.  He  should  be  of 
dark  complexion,  with  black,  curly  hair-:  his  hands  rest 
upon  the  lap  of  the  queen,  and  his  face  is  turned  upward 
towards  her.  He  wears  a  white  tunic  trimmed  with  gold, 
scarlet  sash,  and  white  stockings  and  slippers.  Directly 
behind  the  queen,  upon  the  highest  step,  a  very  young  girl, 
not  more  than  eight  years  of  age,  should  stand,  with  her 
face  towards  the  audience,  and  holding  in  her  hands,  over 
the  queen's  head,  a  wreath  of  flowers.  '  She  wears  a  short 
muslin  dress,  with  low  neck  and  short  sleeves  ;  knots  of 
blue  ribbons  at  the  shoulders,  and  a  long  blue  sash  ;  wreath 
of  small  white  flowers  upon  her  head ;  white  stockings,  and 
slippers.  She  should  be  of  light  complexion,  and  should 
wear  her  hair  in  curls. 

Upon  either  side  of  the  steps,  two  young  ladies  of  from 
twelve  to  fourteen  years  of  age  are  placed,  holding  garlands 
of  flowers,  made  by  twining  paper-flowers  around  hoops  of 
wire  or  rattan.  The  young  lady  upon  the  left  holds  her 
garland  so  as  almost  to  meet  that  of  the  opposite  lady,  and 


264  PARLOR   TABLEAUX. 

her  face  is  turned  about  one-third  towards  the  right.  The 
lady  upon  the  right  holds  her  garland  towards  the  left,  so 
as  nearly  to  meet  that  of  the  opposite  lady  ;  and  her  face  in 
the  same  relative  position,  towards  the  left.  The  garlands 
are  raised  higher  than  their  heads,  and  are  in  a  line  between 
the  queen  and  the  little  girl  behind  her.  These  two  ladies 
are  similarly  dressed  in  pink-muslin  dresses,  with  white 
sash  ;  or  white  muslin  with  blue  sash,  made  full  and  quite 
short ;  and  white  stockings.  Four  young  ladies,  from  ten 
to  sixteen  years  of  age,  kneel  upon  either  side  of  the  stage, 
in  a  line  from  front  to  back :  they  carry  in  their  right 
hands  wands  of  wood  covered  with  silver  paper ;  and  their 
faces  are  turned  half  way  towards  their  queen,  at  the  back. 
Their  dresses  should  be  of  pink  or  white  muslin,  made  short 
and  full ;  white  stockings,  and  hair  dressed  with  flowers. 
As  the  curtain  rises,  a  white  light  should  be  thrown  upon 
the  group,  changing  to  a  bright  blue  before  it  falls.  Music, 
a  lively  waltz. 


THE  SEASONS.  265 


THE   SEASONS. 

ONE  GENTLEMAN  AND  THREE   LADIES. 

SPRING. 

Come,  gentle  Spring  !  ethereal  mildness,  come  1 
And  from  the  bosom  of  yon  dropping  cloud, 
"While  music  wakes  around,  veiled  in  a  shower 
Of  shadowing  roses,  on  our  plains  descend. 
Lend  me  your  song,  ye  nightingales  !  —  oh  !  pour 
The  mazy-running  soul  of  melody 
Into  my  varied  verse  ;  while  I  deduce, 
From  the  first  note  the  hollow  cuckoo  sings, 
The  symphony  of  Spring,  and  touch  a  theme 
Unknown  to  fame,  —  the  Passion  of  the  Groves. 

SUMMER. 

From  brightening  fields  of  ether  fair  disclosed, 

Child  of  the  Sun.  refulgent  Summer,  comes, 

In  pride  of  youth,  and  felt  through  Nature's  depth 

He  comes  attended  by  the  sultry  Hours, 

And  ever  fanning  breezes  on  his  way  ; 

While  from  his  ardent  look  the  turning  Spring 

Averts  her  blushful  face,  and  earth  and  skies, 

All  smiling,  to  his  hot  dominion  leaves. 


266  PARLOR   TABLEAUX. 


When  the  bright  Virgin  gives  the  beauteous  days, 

And  Libra  weighs  in  equal  scales  the  year, 

From  heaven's  high  cope  the  fierce  effulgence  shook 

Of  parting  Summer,  a  serener  blue, 

With  golden  light  enlivened,  wide  invests 

The  happy  world.    Attempered  suns  arise, 

Sweet-beamed,  and  shedding  oft  through  lucid  clouds 

A  pleasing  calm  ;  while  broad  and  brown,  below, 

Extensive  harvests  hang  the  heavy  head. 

Rich,  silent,  deep,  they  stand  ;  for  not  a  gale 

Rolls  its  light  billows  o'er  the  bending  plain, — 

A  calm  of  plenty,  till  the  ruffled  air 

Falls  from  its  poise,  and  gives  the  breeze  to  blow. 

WINTER. 

All  Nature  feels  the  renovating  force 
Of  Winter,  only  to  the  thoughtless  eye 
In  ruin  seen.     The  frost-concocted  glebe 
Draws  in  abundant  vegetable  soul, 
And  gathers  vigor  for  the  coming  year. 
A  stronger  glow  sits  on  the  lively  cheek 
Of  ruddy  fire.     Luculent  along 
The  purer  rivers  flow  :  their  sullen  deeps, 
Transparent,  open  to  the  shepherd's  gaze, 

And  murmur  hoarser  at  the  firing  frost. 

THOMSON. 

THIS  subject  has  been  so  fully  illustrated  by  the  various 
designs  from  artists  of  all  ages  and  nations,  as  to  render 
its  exhibition  as  a  tableau  very  simple  and  appropriate. 


THE    SEASONS.  267 

In  the  centre  of  the  stage,  a  small  box  or  step,  covered 
with  bright-green  baize,  should  be  placed,  about  two  feet 
high,  and  broad  enough  to  allow  of  one  lady  standing 
upon  it. 

This  pedestal  is  occupied  by  the  young  lady  who  person- 
ates Summer.  She  stands  upon  it,  with  her  face  towards 
the  front,  her  head  inclined  a  little  towards  the  left,  and 
grasping  in  her  hands  the  handle  of  a  wooden  garden-rake, 
covered  with  artificial  flowers,  which  she  holds  at  her  left 
side. 

She  wears  a  long  skirt  of  yellow  or  white  tarlatan,  low 
neck,  and  sleeves,  wreath  of  scarlet  and  white  flowers,  and 
a  gilt  butterfly  upon  the  front  of  her  hair.  She  should  be 
of  light  complexion,  with  hair  in  curls.  The  young  lady 
representing  Spring  is  on  the  left  of  Summer,  kneeling 
upon  the  floor  of  the  stage,  in  front  of  the  pedestal.  She 
carries  in  her  right  hand  a  small  nosegay  of  flowers,  which 
she  holds  up  towards  Summer,  and  holds  upon  her  left 
wrist  a  wreath  of  artificial  flowers  held  forward  :  the  left 
side  is  turned  from  the  audience  as  she  looks  up  towards 
Summer  with  a  smiling  expression.  She  wears  a  dress  of 
white  drapery,  trailing  behind,  with  low  neck  and  short 
sleeves  ;  girdle  of  light-blue  gauze  ;  mantle  of  the  same  color, 


268  PARLOR   TABLEAUX. 

extending  from  her  waist  over  her  right  shoulder  ;  and  white 
flowers  with  green  intertwined  in  her  hair.  Autumn  is  rep- 
resented by  a  young  lady,  who  kneels  upon  the  floor  of  the 
stage,  in  front  of  the  pedestal,  to  the  right  of  Summer. 
The  left  side  of  her  face  is  toward  the  audience,  looking  up- 
ward towards  Summer  with  a  smiling  expression.  She 
holds  a  gilt  goblet  in  her  left  hand ;  and  in  her  right  a 
bunch  of  grapes  hanging  over  the  goblet,  which  is  held 
towards  Summer.  She  wefcrs  a  white-drapery  robe,  cut 
low  in  the  neck,  with  short  sleeves,  crimson  sash,  and 
mantle  of  the  same  color  passing  from  her  waist  over  her 
right  shoulder.  She  should  be  of  dark  complexion,  with 
hair  in  curls,  and  a  wreath  of  oak-leaves  upon  the  front. 
Winter  is  personated  by  a  gentleman,  who  is  made  up  very 
old,  with  gray,  bald  wig,  and  white  beard.  He  is  nearer 
the  front  of  the  stage,  facing  towards  the  right,  stooping 
over  a  tripod,  which  should  be  partly  filled  with  alcohol 
lighted.  He  bends  so  low  as  not  to  obscure  the  three  la- 
dies, his  shoulders  shrugged  as  with  cold,  and  his  hands 
extended  over  the  fire.  He  wears  a  long  black  robe  with 
hood  thrown  back,  with  short  drapery-sleeves  showing  the 
arms.  As  the  curtain  rises,  a  white  light  should  be  thrown 
upon  the  figures,  changing  to  a  bright  blue  as  it  descends. 
Music  lively  at  first,  gradually  becoming  more  solemn. 


NIOBE.  269 


NIOBE. 

TWO   LADIES. 

To  stone  the  gods  have  changed  her ;  but  in  vain : 
The  sculptor's  art  has  made  her  breathe  again. 

GREEK  EPIGRAM. 

THE  original  from  which  this  tableau  is  taken  is  one  of 
the  most  admired  of  the  ancient  statues  in  the  imperial 
gallery  of  Florence. 

The  story  is,  that  Niobe,  the  Queen  of  Thebes,  hav- 
ing seven  sons  and  seven  daughters,  of  whom  she  was 
justly  proud,  was,  unfortunately,  so  presumptuous  as  to 
compare  herself  to  the  gods,  and  seek  the  worship  which 
mortals  only  accorded  to  them.  On  the  occasion  of  the 
annual  celebration  in  honor  of  Latona,  and  her  offspring 
Apollo  and  Diana,  when  the  people  were  assembled  to 
make  their  offerings  and  vows  to  these  deities,  Niobe  ap- 
peared among  the  multitude,  and  haughtily  demanded  to 
know  why  they  should  prefer  beings  whom  they  had  never 
seen  to  those  who  stood  before  their  eyes.  She  then  com- 


270  PARLOR   TABLEAUX. 

manded  the  people  to  have  done  with  their  solemnities. 
They  obeyed,  and  the  sacred  services  were  left  unfinished. 

The  gods,  indignant,  immediately  proceeded  to  punish 
this  sacrilege  ;  and  arrows,  descending  from  on  high,  slew, 
one  by  one,  the  seven  sons  of  Niobe.  She,  though  filled 
with  anguish,  was  not  penitent,  and,  raising  her  arms  to 
heaven,  defiantly  exclaimed,  that,  though  bereaved,  she  was 
still  richer  than  her  conqueror.  The  words  had  scarce 
sounded,  when  one  of  the  sisters  fell ;  and  soon  all  had  sunk 
dead,  except  one,  whom  the  mother  clasped,  and,  as  it 
were,  covered  with  her  whole  body,  crying,  "  Spare  me  one, 
and  that  the  youngest !  —  oh,  spare  me  one  of  so  many  !  " 
and,  while  she  spoke,  that  one  fell  dead.  The  tableau 
represents  Niobe  in  the  act  of  pleading  for  the  girl.  She 
stands  at  the  right  of  the  centre  of  the  stage,  her  face 
turned  towards  the  right  with  an  expression  of  anguish  and 
supplication.  Her  left  arm  is  extended,  as  if  shielding  her 
child ;  her  right  lying  upon  the  daughter's  shoulder,  draw- 
ing her  close  to  herself.  She  wears  a  robe  of  white  drape- 
ry, with  low  neck  and  short  sleeves,  belted  at  the  waist ; 
and  a  mantle  of  white  drapery  over  her  left  arm  and  shoul- 
der. Her  hair  is  dressed  in  the  Grecian  style,  with  white 
bands  on  the  front,  and  powdered  white.  The  girl  should 


THE  MIDSUMMER-NIGHT'S  DREAM.  271 

be  about  twelve  years  of  age.  She  kneels  close  to  her 
mother,  whose  lower  limbs  shield  her  body ;  her  arms 
raised,  grasping  her  mother's  waist  as  if  in  terror ;  and  her 
face  turned  upward  towards  the  right  with  an  expression 
of  fear  and  entreaty.  Her  costume  is  a  plain  white  robe 
belted  at  the  waist,  with  short  sleeves  and  low  neck ;  and 
hair  in  the  Grecian  style,  heavily  powdered.  A  white  light 
is  thrown  from  the  right.  Music,  imitating  a  storm. 


THE  MIDSUMMER-NIGHT'S   DREAM. 

ONE   GENTLEMAN   AND   TWO    LADIES. 

Helena.  But  who  is  here  1    Lysander !  on  the  ground ! 
Dead  ?  or  asleep  ?     I  see  no  blood,  no  wound. 
Lysander,  if  you  live,  good  sir,  awake ! 

Lysander.  And  run  through  fire,  I  will,  for  thy  sweet  sake,    [  Waking. 
Transparent  Helena !     Nature  here  shows  art, 
That  through  thy  bosom  makes  me  see  thy  heart. 
Where  is  Demetrius  ?     Oh,  how  fit  a  word 
Is  that  vile  name  to  perish  on  my  sword  ! 

HtL  Do  not  say  so,  Lysander  ;  say  not  so. 
What  though  he  love  your  Hermia  ?  Lord,  what  though  ? 
Yet  Hermia  still  loves  you  :  then  be  content. 

Lys.  Content  with  Hermia  1    No  :  I  do  repent 
The  tedious  minutes  I  with  her  have  spent. 


272  PARLOR   TABLEAUX. 

Not  Hermia,  but  Helena,  I  love  : 
Who  will  not  change  a  raven  for  a  dove  ? 
The  will  of  man  is  by  his  reason  swayed ; 
And  reason  says  you  are  the  worthier  maid. 
Things  growing  are  not  ripe  until  their  season ; 
So  I,  being  young,  till  now  ripe  not  to  reason : 
And,  touching  now  the  point  of  human  skill, 
Reason  becomes  the  marshal  to  my  will, 
And  leads  me  to  your  eyes,  where  I  o'erlook 
Love's  stories  written  in  Love's  richest  book. 

Hel.  Wherefore  was  I  to  this  keen  mockery  born  ? 
When,  at  your  hands,  did  I  deserve  this  scorn  ? 
But  fare  you  well :  perforce  I  must  confess 
I  thought  you  lord  of  more  true  gentleness. 
Oh  that  a  lady,  of  one  man  refused, 
Should  of  another,  therefore,  be  abused ! 

MIDSUMMER-NIGHT'S  DREAM,  act  ii.  scene  3. 

THIS  picture,  from  the  play  of  "  The  Midsummer-Night's 
Dream,"  represents  the  scene  where  Helena,  having  pursued 
vainly  her  loved  one,  Demetrius,  comes  suddenly  upon  Ly- 
sander,  sleeping  upon  a  bank  near  Hermia  his  betrothed. 
Surprised  at  thus  meeting  him,  she  arouses  him  to  ask  his 
purpose  there ;  and  he  awakes,  and  addresses  her  in  words 
of  love,  much  to  her  astonishment,  having  had  his  eyes 
anointed  during  sleep  by  the  juice  of  a  flower  whose  magic 
influence  caused  the  person  so  touched  to  fall  in  love  with 


THE  MIDSUMMER-NIGHT'S  DREAM.  273 

the  first  person  he  sees  upon  waking,  no  matter  what  the  form 
or  face.  This  flower  had  been  given  to  Puck  by  Oberon, 
king  of  the  fairies,  who  instructed  him  to  squeeze  the  juice 
upon  the  eyes  of  a  young  Greek  he  would  find  (meaning 
Demetrius),  who  avoided  Helena,  whom  Oberon  wished  to 
serve ;  but  Puck  comes  upon  Lysander,  and,  thinking  him 
the  young  Greek  meant  by  Oberon,  anoints  his  eyes  in- 
stead, and,  of  course,  causes  him  to  fall  in  love  with  Helena, 
whom  he  first  sees  upon  awaking,  although  she  does  not  be- 
lieve his  protestations. 

Upon  the  left  of  the  stage,  about  half  way  back,  a  wooden 
box  or  a  pile  of  pillows,  covered  with  green,  should  be 
placed  to  represent  the  bank  used  in  the  piece.  Lysander 
kneels  upon  the  floor  of  the  stage  on  the  left,  at  some  dis- 
tance from  the  bank,  nearer  the  front,  upon  his  right  knee, 
his  left  bent,  and  advanced  towards  the  front.  His  left  arm 
is  extended  towards  Helena,  who  stands  in  the  centre  of  the 
stage  ;  and  his  right  raised  towards  Hermia,  with  a  gesture 
as  if  casting  her  off;  while  he  looks  upward  towards 
Helena  with  an  earnest  expression,  the  left  side  of  his  face 
being  towards  the  audience.  He  should  wear  a  tunic  of 
white,  trimmed  with  gold ;  a  crimson  mantle  thrown  over 
his  right  shoulder,  and  hanging  behind  ;  flesh-colored  tights, 

18 


274  PARLOR   TABLEAUX. 

and  sandals.  A  suitable  dress  of  this  kind  may  be  procured 
at  the  costumer's,  or  extemporized  in  this  way,  —  the  gentle- 
man wearing  a  white  shirt,  white  stockings,  and  slippers ; 
and  a  drapery  of  crimson  cambric,  or  any  other  material, 
covering  his  lower  limbs  to  the  knee,  and  thrown  back  over 
his  right  shoulder.  The  gentleman  representing  Lysander 
should  be  tall  and  good-looking. 

Helena  stands  in  the  centre  of  the  stage,  to  the  right  of 
Lysander,  looking  down  with  a  vexed  expression,  as  if  an- 
noyed by  the  declaration  she  does  not  believe.  Her  head  is 
turned  slightly  to  the  left,  so  as  to  present  a  three-quarters 
view  of  the  face  to  the  audience :  her  left  arm  lies  across 
the  waist ;  her  right  upon  her  bosom,  holding  one  end  of 
the  drapery,  which  passes  over  her  shoulders.  She  wears  a 
white  robe,  with  double  skirt,  hanging  close  to  her  form ;  a 
white  mantle  over  her  shoulders,  and  a  white  turban  upon 
her  head.  Hermia  should  be  represented  by  a  younger  lady 
than  Helena.  She  lies  upon  the  bank,  with  her  head  towards 
the  left,  upon  her  left  side,  with  her  face  towards  the  audi- 
ence. Her  eyes  are  closed,  and  her  right  hand  lies  close  to 
her  face  upon  the  bank.  She  wears  a  white-muslin  robe, 
with  blue  mantle.  A  bright  white  light  should  be  thrown 
from  behind  upon  Helena,  to  represent  moonlight,  far 


FAUST   AND    MARGUERITE.  275 

enough  towards  the  left  to  fall  upon  Ly Sander's  face,  but 
leaving  Hermia  in  the  shade.     Music  soft,  but  lively. 


FAUST    AND    MARGUERITE. 

ONE  GENTLEMAN  AND  ONE  LADY. 

THE  opera  of  "  Faust,"  by  Gounod,  is  well  known  ;  and 
the  libretto,  for  the  most  part  adhering  to  the  original  story, 
furnishes  in  its  description  of  the  garden-scene  the  subject 
of  this  tableau.  There  should  be  a  set  of  curtains  at  the 
back  of  the  stage,  about  three  feet  in  front  of  the  extreme 
background.  A  wooden  frame  about  three  feet  square 
should  be  made,  and  placed  at  the  centre  of  the  set  of  cur- 
tains, which  should  be  pinned  or  sewed  around  the  frame, 
closing  in  all  of  the  remainder  of  the  stage.  A  long  box 
should  be  placed  upon  the  floor  of  the  stage,  behind  this 
frame,  about  two  feet  high ;  and  the  frame  placed  at  a  dis- 
tance above  equal  to  the  height  of  the  lady's  waist,  who 
stands  behind.  In  front  of  the  frame,  towards  the  audience, 
a  long  narrow  box,  of  the  same  height  as  the  one  behind, 
should  be  placed  for  a  step  to  reach  the  opening.  A  small 
table  should  be  placed  upon  the  right  corner  of  the  stage, 


276  PARLOR   TABLEAUX. 

near  the  front,  upon  which  is  a  small  bright-colored  box  and 
a  bouquet  of  flowers. 

The  lady  representing  Marguerite  should  be  of  clear, 
light  complexion.  She  stands  upon  the  box  behind  the  win- 
dow, leaning  out,  and  clasping  her  arms  around  Faust, 
while  she  looks  down  towards  him  with  an  expression  of 
tenderness.  She  wears  a  white  dress  with  low  neck,  blue 
sash,  and  blue  trimmings,  looped  up  at  one  side  with  a  large 
knot  of  ribbon,  showing  the  skirt  underneath. 

Faust  stands  upon  the  step  at  the  outside  of  the  window, 
and  upon  the  left,  his  face  towards  the  left,  and  his  profile 
towards  the  audience.  He  should  be  tall,  with  dark  curling 
hair,  black  mustache  and  imperial.  His  arms  are  passed 
around  her  waist,  while  her  arm  is  around  his  neck ;  and 
he  looks  upwards,  with  his  head  inclined  towards  her,  with 
an  earnest  but  fond  expression.  He  wears  a  black  or  crim- 
son velvet  cape  trimmed  with  gold,  velvet  waist  and 
trunks  slashed  with  white,  white  stockings,  buckle-shoes, 
ruffles,  sword-belt,  and  sword.  The  music  may  be  that 
given  at  the  finale  of  this  scene  in  the  opera,  or  something 
very  soft  and  sentimental.  A  bright-blue  light  should  be 
thrown  upon  the  faces  of  the  characters. 


THE   GRECIAN   FLOWEE-GIRL.  277 

THE  GRECIAN   FLOWER-GIRL. 

ONE   LADY. 

THIS  simple  and  beautiful  tableau  should  be  represented 
by  a  young  girl  from  twelve  to  fourteen  years  of  age,  of 
light  complexion,  and  handsome  features.  She  should 
stand  in  the  centre  of  the  stage,  her  face  towards  the  audi- 
ence, with  a  large  basket  upon  her  head,  filled  with  a  great 
profusion  of  artificial  flowers  of  gay  colors.  Her  arms  are 
raised,  supporting  the  basket  on  either  side.  She  wears  a 
white  dress,  with  low  neck  and  short  sleeves  ;  strands  of  wax 
beads  upon  her  neck ;  white  stockings,  and  white  or  red 
slippers  ;  and  a  broad  scarf  or  mantle  of  blue,  with  ends  of 
crimson  extending  from  her  left  shoulder  across  the  waist, 
and  hanging  over  the  right  side  :  her  hair  is  in  curls,  and 
her  skirt  trimmed  with  a  spray  of  artificial  flowers ;  and 
she  should  look  towards  the  audience  with  a  smiling  expres- 
sion. The  stage  should  be  well  lighted,  and  the  music 
lively. 


278  PARLOR   TABLEAUX. 


THE  GUARDIAN   ANGEL. 

TWO   LADIES. 

THIS  picture  represents  a  young  peasant-girl  in  a  lonely 
wood,  praying  for  protection  and  safety,  and  restoration  to 
the  friends  whom  she  has  lost :  her  guardian  angel  appears 
close  by,  as  if  in  answer  to  her  prayer.  The  young  girl 
rests  with  her  lower  limbs  upon  the  floor  of  the  stage  ;  while 
her  right  hand,  leaning  upon  the  stage,  supports  the  upper 
portion  of  her  body  in  an  upright  position  ;  her  left  hand  is 
upon  her  breast,  her  eyes  closed,  and  her  face  turned  up- 
wards. She  wears  a  blue  skirt,  scarlet  or  white  waist  with 
low  neck,  and  her  hair  loose  upon  her  shoulders.  The  lady 
representing  the  angel  should  be  tall,  and  of  dark  complex- 
ion :  she  stands  farther  back,  towards  the  left  of  the  stage, 
with  her  arms  extended  towards  the  young  girl,  and  looking 
towards  her.  She  should  wear  a  long  white  robe,  and  drape- 
ry-sleeves, with  an  over-skirt ;  a  silver  band,  with  star  in 
the  centre,  upon  her  head  ;  and  wings  of  paper  or  muslin  on 
a  wire  frame.  A  blue  smoke  should  surround  her,  reflect- 
ing the  light  upon  her  face,  leaving  the  young  girl  in  the 
shade.  Music,  some  sacred  hymn. 


DEPARTURE    OF   THE   PILGRIMS.  279 


DEPARTURE    OF    THE    PILGRIMS. 

SEVEN   GENTLEMEN   AND    EIGHT   LADIES. 

A  COLLECTION  of  tableaux  emanating  from  this  country 
would  be  hardly  complete,  without  one  picture,  at  least,  rep- 
resenting its  early  history.  The  tableau  of  the  above  title 
gives,  in  the  best-approved  grouping  known,  a  representa- 
tion of  the  principal  leaders  among  the  Pilgrim  Fathers. 
The  scene  represents  the  departure  from  Delfthaven  of  the 
small  party  of  John  Robinson's  followers,  including  Capt. 
Miles  Standish,  John  Winslow,  and  other  names,  which  have 
since  passed  into  history.  The  tableau  will  require  a  pretty 
large  stage,  and  is  not  intended  to  be  produced  upon  any 
other.  In  the  rear  of  the  centre  of  the  stage,  a  platform  of 
boxes,  the  top  of  which  is  about  eight  feet  square,  is  erected, 
and  covered  to  represent  a  rock  or  a  bank,  and  should  be 
about  three  feet  in  height.  A  box  about  four  feet  long  by 
two  high  is  placed  upon  the  right  side  of  the  stage,  the  end 
towards  the  front,  and  resting  between  the  higher  bank  and 
the  front :  this  should  be  covered  with  green  to  represent  a 
bank.  The  gentleman  personating  the  leader  of  the  band, 


280  PARLOR   TABLEAUX. 

John  Robinson,  kneels  near  the  front  edge  of  the  high  bank, 
upon  his  left  knee ;  his  right  leg  bent,  and  extended  for- 
ward :  his  face  is  towards  the  audience,  turned  upwards 
with  an  earnest  expression ;  and  his  arms  are  raised  as  if 
asking  a  blessing.  He  wears  a  dark-brown  waist  and  short 
skirt  puffed  ;  long  puffed-sleeves,  showing  the  white  under- 
neath ;  broad  white  collar  and  cuffs  ;  loose  knee-breeches, 
and  pumps  ;  dark  slate-colored  cap,  thrown  back  from  his 
shoulders  ;  and  brownish-gray  wig,  and  chin-whiskers.  He 
should  be  of  straight  features,  with  square  forehead.  An 
elderly  woman  is  seated  at  his  left  upon  the  high  bank, 
with  her  lower  limbs  bent  at  the  knee,  her  hands  crossed 
upon  her  knees,  and  her  head  resting  upon  her  hands,  in- 
clined forward,  so  that  the  forehead  touches  her  hands. 
She  wears  a  dark-brown  dress  with  long  sleeves  and  white 
cuffs,  black  cap,  and  gray  wig.  At  the  right  of  the  central 
figure,  a  lady  about  twenty-five  years  of  age  is  seated,  with 
her  face  turned  towards  the  audience,  with  a  thoughtful  ex- 
pression ;  her  right  elbow  resting  upon  her  knee,  and  her 
chin  resting  upon  her  right  hand  ;  her  left  hand  lying  upon 
her  lap.  She  wears  a  slate-colored  handkerchief  hanging 
down  on  the  left  of  her  face,  and  a  dress  of  a  lighter  shade 
of  brown  than  the  lady  on  the  left,  with  white  collar  and 


DEPARTURE    OF    THE    PILGRIMS.  281 

cuffs.  The  remaining  figure  upon  the  high  bank  is  an  elder- 
ly gentleman,  seated  upon  the  left.  His  hands  are  crossed 
upon  his  knees,  his  face  inclined  forward  towards  the  left, 
with  an  attentive  expression.  He  wears  a  slate-colored 
waist  with  long  sleeves,  trunks  of  the  same  color,  stockings, 
pumps,  white  collar,  cuffs,  gray  wig,  and  chin-whiskers  :  a 
short  brown  cloak  completes  his  costume.  Upon  the  lower 
bank,  at  the  right  of  the  stage,  at  the  end  nearest  the  back, 
an  elderly  woman  is  seated  :  her  face  is  towards  the  left, 
looking  forward  with  an  attentive  expression  ;  and  her  hands 
are  clasped  upon  her  lap.  She  wears  a  slate-colored  skirt ; 
red  cloak,  and  hood  of  the  same  color ;  and  gray  front  of 
hair.  A  younger  lady  is  seated  at  the  left  of  the  elderly  lady  : 
her  face  is  turned  away  from  the  front,  looking  towards  the 
leader  ;  her  left  hand  rests  upon  her  lap,  her  right  upon  the 
shoulder  of  a  lady  who  kneels  at  her  feet.  She  wears  a 
dark-brown  dress  with  neck  trimmed  with  fur,  white  cuffs, 
and  black-lace  veil  hanging  over  her  head  and  shoulders. 

Directly  in  front  of  this  lady,  a  lady  of  about  twenty-five 
years  of  age  kneels,  with  her  head  upon  the  lap  of  the  lady 
just  described,  her  arms  lying  extended  upon  the  knees  of 
the  lady,  and  her  body  inclined  towards  the  right.  She 
wears  a  pink-silk  dress,  open  in  front,  showing  an  underskirt 


282  PARLOR   TABLEAUX. 

of  blue,  the  neck  cut  low,  and  covered  with  deep  lace  ;  puffed- 
lace  sleeves  ;  and  hair  neatly  arranged.  At  the  end  of  this 
bank  nearest  the  front,  a  gentleman  is  seated,  with  his  face 
towards  the  audience ;  his  head  inclined  forward,  supported 
upon  his  right  hand,  the  elbow  of  which  rests  upon  his  knee  ; 
his  left  hand  also  lying  upon  his  knee  :  he  wears  a  thought- 
ful, attentive  expression.  His  costume  is  a  slate-colored 
waist,  with  sleeves  and  trunks  of  the  same  color  ;  low  shoes, 
broad  white  collar,  and  brown  cape,  with  brown  hair  and 
chin-whiskers.  A  young  man  is  extended  near  the  front  of 
the  stage,  with  his  face  towards  the  audience,  looking  out 
with  a  thoughtful  expression  ;  his  head  supported  upon  his 
left  hand,  the  elbow  resting  upon  the  ground ;  his  right  ly- 
ing across  his  body,  holding  his  hat,  which  just  touches  the 
ground  ;  and  his  right  leg  crossed  over  the  left,  and  extended 
towards  the  right.  He  wears  a  long  brown  jacket  with 
skirt,  black-velvet  breeches,  russet  boots,  sword-belt,  and 
sword,  long  black  curly  hair,  mustache,  and  imperial.  A 
lady,  represented  as  about  thirty  years  of  age,  kneels  at  the 
left  of  the  centre  of  the  stage :  her  face  is  turned  a  little 
towards  the  left,  her  arms  around  a  lady  who  leans  upon  her 
from  the  left  side  ;  while  she  looks  at  the  lady  with  an  at- 
tentive expression  upon  her  face.  She  wears  a  plain  dark- 


DEPARTURE   OF   THE   PILGRIMS.  283 

blue  dress,  white  neckerchief,  and  brown  hood  covering 
the  back  of  her  head.  Seated  upon  a  low  stool  at  the  left 
of  the  figure  just  described  is  a  young  lady :  her  face  is 
turned  towards  the  right,  and  her  head  leaning  upon  the 
left  shoulder  of  the  lady  just  mentioned ;  her  eyes  are 
closed,  and  her  face  wears  an  expression  of  grief;  her 
hands  lie  upon  her  lap  ;  and  her  body  is  inclined  forward,  as 
if  leaning  heavily  against  her  companion.  She  wears  a 
handsome  yellow  skirt  trailing  behind,  lace  under-sleeves, 
and  wide  lace  collar  around  her  neck.  About  two  feet  be- 
hind this  last-mentioned  lady,  a  lady  is  seen,  standing  with 
her  back  towards  the  audience,  her  head  bent  forward  upon 
her  hands,  which  are  raised  to  her  eyes,  as  if  weeping.  She 
wears  a  crimson  dress  with  wide  collar  and  cuffs.  Just 
beside  this  lady,  close  to  her,  at  her  right,  a  gentleman  per- 
sonating her  husband  stands :  his  face  is  towards  the  left, 
looking  towards  her  with  an  assuring  expression  ;  his  arms 
are  around  her  waist,  supporting  her ;  and  the  right  side  of 
his  face  turned  towards  the  audience.  He  wears  a  long, 
brown,  soldier's  waist,  slate-colored  breeches,  boots,  and 
breastplate.  He  should  be  young,  of  straight  features,  and 
light  complexion.  Just  in  front  of  the  high  bank,  two 
young  boys,  of  about  eight  years  of  age,  are  seen  standing, 


284  PARLOR  TABLEAUX. 

their  hands  clasped  together,  and  looking  up  at  the  leader. 
They  wear  similar  dresses  of  black  or  brown,  with  belt, 
and  low  shoes.  A  bright-white  light  may  be  throw  upon 
the  group  ;  or  a  very  fine  effect  may  be  produced  by  using 
red,  white,  and  blue  lights  alternately.  Music,  some  sacred 
hymn 


NOTES   AND   RECIPES. 
A  brilliant  Eed  Fire. 

THESE  recipes  for  producing  red  fire  have  been  repeat- 
edly tried,  and  are  generally  used  at  the  best  theatres  in 
England  and  America.  First  recipe  :  — 

Dry  nitrate  of  strontian,  1  oz. 

Sulphur,  3  drs.  and  6  grs. 

Oxymuriate  of  potash,*  1  dr.  and  12  grs. 

Sulphuret  of  antimony,  2  drs. 

Charcoal,  1  dr.  and  1  scr. 

*  The  oxymuriate  must  be  powdered  by  itself,  and  mixed  with  the  other 
ingi-eclients,  carefully,  on  paper;  otherwise  it  will  explode,  to  the  imminent 
danger  of  the  operator. 


NOTES   AND   RECIPES.  285 

Second  recipe :  — 

Nitrate  of  strontian,  1  oz. 
Chlorate  of  potass.  3  dwts. 
Charcoal,  3  dwts. 
Meal-powder,  3  dwts. 

A  delicate  Blue  Fire. 

Nitrate  of  barytes,  77  parts  by  weight. 

Sulphur,  13     "      "       " 

Chlorate  of  potass.     5     "      "       " 

Realgar,  2     "      "       " 

Charcoal,  3     "      "       " 

Mix  and  inflame  as  for  red  fire.  This  recipe  is  for  the 
flame  used  in  fairy  and  apparition  scenes,  and  casts  a  pecu- 
liar soft,  whitish-blue  light,  accompanied  by  much  white 
smoke. 

Green  Fire. 

A  brilliant  green  fire  may  be  made  from  the  following 
recipe :  — 

Flour  of  sulphur,  13  parts. 

Dry  nitrate  of  baryta  (powdered),  77  parts. 

Oxymuriate  of  potassa,  5  parts. 


286  PARLOR   TABLEAUX. 

Metallic  arsenic,  2  parts. 
Charcoal,  3  parts. 

All  the  ingredients  should  be  finely  pulverized,  and 
thoroughly  mixed.  A  little  calarnine  should  be  added,  if 
it  is  desired  to  have  the  flame  burn  more  slowly. 

Flashes  of  Light. 

Flashes  of  light,  of  any  desired  color,  are  produced  by 
suddenly  withdrawing  the  light,  leaving  the  stage  dark,  and 
as  suddenly  throwing  it  on  again.  The  light  is  used  in  this 
way  in  several  battle-pieces  in  the  collection. 

Colored  Lights. 

Colored  lights  may  be  produced  by  placing  squares  of 
glass,  of  various  colors,  before  a  strong  light  burned  in  a  tin 
vessel  with  reflector. 

Sounds  like  falling  Eain. 

For  this  purpose,  a  box  three  or  four  feet  long,  and 
about  one  foot  wide,  should  be  obtained,  and  small  pegs  of 


NOTES    AND   RECIPES.  287 

wood,  one  or  two  inches  high,  inserted  in  the  bottom,  at 
distances  of  two  or  three  inches  apart.  A  quart  of  dried 
beans  or  peas  should  be  placed  at  one  end  of  the  box,  and 
that  end  raised  slowly,  allowing  the  peas  to  roll  gradually 
down  to  the  lower  end.  This  may  be  repeated,  as  many 
times  as  desired,  by  alternately  raising  the  ends  of  the  box  ; 
and  the  sounds  produced  are  very  natural. 

Sounds  like  distant  Artillery. 

Sounds  of  the  distant  firing  of  cannon  are  produced  by 
striking  upon  a  sheet  of  iron,  suspended  by  a  rope ;  or 
allowing  a  heavy  ball  to  fall  and  roll  upon  a  carpeted  floor. 

Sounds  of  rolling  thunder  may  be  made  by  shaking  the 
sheet  of  iron  slowly,  repeating  the  action  at  intervals,  as 
may  be  desired. 

Flashes  of  Lightning. 

A  very  good  imitation  of  flashes  of  lightning  may  be 
made  by  mixing  gunpowder  with  a  small  quantity  of  water 
and  gum-arabic,  and  applying  the  mixture  with  a  brush  to 
the  scene,  at  the  background  of  the  stage,  which  should  be 
painted  to  represent  dark  clouds.  The  flashes  should  be 


288  PARLOR  TABLEAUX. 

put  on  in  irregular  forked  lines,  the  ends  being  near  the 
sides  of  the  stage.  Touch  a  lighted  fuze  to  these  lines  at 
intervals  of  a  few  seconds,  and  they  will  ignite  quickly, 
resembling  flashes  of  lightning. 

To  make  Wrinkles,  Flesh-wounds,  &c. 

Wrinkles  may  be  made  by  using  India  ink,  moistened 
with  water.  As  marks  of  age,  they  are  applied  to  the  fore- 
head, under  the  eyes,  and  at  the  corners  of  the  mouth. 
Flesh-wounds  may  be  made  with  rouge,  applied  thickly  to 
the  desired  part ;  or  with  rose-pink,  moistened  with  water. 
The  face  may  be  stained  a  copper  color,  to  represent  Indian 
characters,  by  the  use  of  Spanish  brown,  mixed  with  oil, 
and  rubbed  in  thoroughly.  To  make  the  face  black  for 
negro  characters,  use  lamp-black  mixed  with  oil,  or  burnt 
cork. 

Stage-fire  and  Incantations. 

Dissolve  nitrate  of  copper  in  alcohol.  Light  the  solution, 
and  it  will  burn  with  a  beautiful  emerald-green  flame. 
Pieces  of  sponge  suspended,  and  strips  of  flannel,  dipped  in 
the  solution,  wound  around  various  articles,  and  lighted,  are 
used  for  incantation-scenes  on  the  stage. 


AMATEUR    THEATRICALS. 

19 


AMATEUR   THEATRICALS. 


THE  favor  with  which  the  drama  is  now  generally  re- 
garded has  induced  of  late  years  a  wide-spread  and 
growing  interest,  not  only  in  the  regular  stage,  but  in  the 
performances  of  amateur  societies,  many  of  which  have 
been  formed  in  the  cities  and  country  towns  ;  and  the  ex- 
perience of  previous  performances  has  developed  a  taste 
for  novelties,  and  pieces  of  a  style  suitable  to  such  represen- 
tation, which  it  is  the  object  of  the  author  to  supply  in  this 
department  of  tKe  book,  by  suggesting  those  productions 
which  have  stood  the  test  of  actual  performance,  and  may 
be  recommended  as  certain  of  making  a  favorable  impres- 
sion. The  details  of  the  stage-appurtenances  are  similar 
to  those  described  in  the  introduction  ;  and,  where  scenery 
is  not  used,  pieces  should  be  selected  having  only  indoor 
scenes  introduced.  The  theatrical  terms  here  subjoined 
will  be  found  of  use,  as  simplifying  the  description  of  the 

291 


292  AMATEUR   THEATRICALS. 

pieces.  Properties  are  articles  used  in  any  cf  the  pieces ; 
such  as  furniture,  paintings,  letters,  &c.  Make-up:  this 
term  is  used,  signifying  the  preparation  of  the  performer's 
personal  appearance  in  his  characters,  both  as  regards 
dress,  and  the  getting-up  of  the  face  with  lines  or  wig,  as 
the  case  may  be.  A  gag  is  a  word  or  sentence  introduced 
into  the  part,  which  is  not  printed  in  the  piece.  The  gen- 
tleman who  plays  the  principal  young-man's  parts  is  called 
the  leading  juvenile  man  ;  the  leading  old-man's  parts, 
the  first  old  man  ;  the  secondary  old-man's  parts,  the  second 
old  man.  The  heavy  man  is-  the  gentleman  who  plays  the 
very  serious  villain's  parts.  The  gentleman  who  plays  the 
leading  humorous  parts  is  called  the  first  low-comedy 
man  ;  the  gentleman  playing  the  secondary  humorous  parts, 
the  second  low-comedy  man.  The  gentleman  who  plays 
the  secondary  young-man's  parts  is  called  the  first  walking 
gentleman.  The  lady  playing  the  principal  parts  is  called 
the  leading  lady ;  the  lady  playing  the  next  important 
parts,  the  first  walking  lady.  The  lady  playing  the  leading 
old-woman's  parts  is  called  the  first  old  woman :  the  sec- 
ondary old-woman's  parts  are  played  by  the  second  old  wo- 
man. The  soubrette  is  the  lady  playing  the  chambermaid 
parts  or  the  comedy  characters  corresponding  to  those 


AMATEUR   THEATRICALS.  293 

played  by  the  first  low-comedy  man.  Eccentric  and  char- 
acter parts  are  those  not  particularly  belonging  to  any 
regular  line,  but  representing  some  peculiar  characteristics. 
Utility  parts  are  those  played  by  persons  necessary  to  the 
business  of  the  piece,  but  who  have  little  to  do  or  say.  To 
persons  unacquainted  with  the  details  of  preparing  ama- 
teur theatricals,  a  few  hints  may  be  of  some  service,  and 
prevent  mortifying  errors.  The  performers  should  be  very 
careful  never  to  play  with  their  backs  toward  the  audience, 
unless  the  business  of  the  piece  absolutely  requires  it. 
They  should  bear  in  mind  to  keep  the  stage  well  dressed  ; 
that  is,  not  huddle  together  in  one  corner  of  the  stage, 
leaving  the  remainder  unoccupied,  but  have  the  characters 
arranged  always  so  as  to  fill  the  stage  equally.  The  prime 
elements  of  a  good  performance  are  study  and  rehearsals  : 
no  matter  how  talented  the  performer,  his  attempts  will  fail 
of  effect  without  sufficient  rehearsals.  Inexperienced  per- 
formers will  require  from  three  to  six  rehearsals  on  the  most 
simple  pieces,  before  attempting  a  regular  performance. 

When  on  the  stage,  the  performer  should  be  careful  to 
attend  to  all  that  is  said  by  other  performers,  as,  if  he  pays 
attention  only  to  his  own  part,  it  will  be  apparent,  and  take 
off  from  the  natural  effect.  The  design  of  the  accompany- 


294  AMATEUR    THEATRICALS. 

ing  descriptive  list  is  to  furnish  amateurs  with  desirable 
pieces  for  performance,  and  save  trouble  and  expense  iu 
ordering  from  a  printed  list  of  titles  a  great  number  of 
pieces,  not  one  out  of  ten  of  which  is  at  all  adapted  to  ama- 
teurs. The  style  of  the  characters  is  also  given  for  the 
same  reason,  —  that  the  manager  shall  be  able  to  see  at 
once  if  he  has  ladies  and  gentlemen  at  hand  competent  to 
play  the  parts. 

If  any  one  of  these  objects  is  attained  by  this  portion  of 
the  volume,  it  will  not  have  been  written  in  vain,  and,  aided 
by  experience,  will  smooth  the  mazy  path  of  the  votaries  of 
private  theatricals. 


COMEDIES. 

MONEY. 

NINE   GENTLEMEN   AND  THREE   LADIES. 

THIS  admirable  comedy  by  Bulwer,  though  not  generally 
classed  among  those  best  adapted  for  amateur  acting,  has, 
nevertheless,  been  given  by  unprofessional  with  marked 
success,  and  is  to  be  recommended  to  any  company  of  mode- 
rate experience. 

The  characters  are  Alfred  Evelyn,  leading  juvenile  ;  Sir 
John  Vesey,  first  old  man  ;  Graves,  first  low  comedy  ;  Stout, 
eccentric  comedy ;  Lord  Glossmore,  light  comedy ;  Sir 
Frederick  Blount,  fashionable  coxcomb ;  Capt.  Dudley 
Smooth,  light  comedy ;  Sharp,  a  lawyer ;  a  male  servant ; 
Clara  Douglas,  leading  lady  ;  Lady  Franklin,  light  comedy  ; 
and  Georgina,  niece  to  Sir  John  Vesey,  walking  lady.  The 
piece  requires  scarcely  any  properties  ;  is  dressed  in  modern 
style ;  but  the  changes  of  scene  are  such  as  to  render 

295 


296  AMATEUR    THEATRICALS. 

scenery  necessary.  The  club-scene  is  generally  omitted  in 
private  representations  of  the  piece,  as  it  requires  additional 
characters,  and  is  not  at  all  necessary  to  the  business  or  plot 
of  the  piece.  Time  of  representation,  one  hour  and  three- 
quarters. 

THE  LITTLE  TREASURE. 

TWO   ACTS. 
FOUR    GENTLEMEN    AND    THREE    LADIES. 

THIS  charming  little  comedy  was  first  produced  in  Lon- 
don in  1855,  and,  from  its  fund  of  natural  humor  and  sim- 
plicity, is  peculiarly  well  adapted  to  the  amateur  stage.  Its 
style  is  entirely  domestic,  and  its  characters  and  situations 
so  simple  as  to  be  sufficiently  intelligible  to  the  most  inex- 
perienced amateur ;  and  can  scarcely  fail  of  commanding 
applause  wherever  represented. 

The  principal  character  is  Gertrude,  daughter  of  parents 
who  have  been  separated  many  years,  and  who  are  at  last 
reconciled  through  her  efforts.  She  is  represented  as  about 
sixteen  years  of  age,  and  of  a  somewhat  forward  and  teas- 
ing character,  softened  by  the  desire  to  bring  about  good 


SYLVIA'S  SOLDIER.  297 

results.  The  remaining  characters  are  Capt.  Walter  May- 
denblush,  represented  as  a  very  bashful  young  man,  and 
affording  an  excellent  opportunity  for  a  display  of  light- 
comedy  acting  by  the  leading  man  of  the  company ;  Sir 
Charles  Howard,  father  of  Gertrude,  a  genteel-comedy 
part ;  Hon.  Leicester  Fluttermore,  a  fashionable  coxcomb  ; 
Mr.  Allembourne,  walking  gentleman  ;  Lady  Florence  How- 
ard, mother  of  Gertrude,  genteel-comedy  part ;  and  Mrs. 
Meddleton,  mother  of  Lady  Florence,  an  admirable  old- 
woman's  part ;  with  two  or  three  servants,  which  are  much 
better  omitted.  The  piece  can  be  played  without  scenery, 
consisting  of  two  interior  scenes,  the  dresses  being  modern. 
Two  or  three  supernumerary  gentlemen  will  give  effect  to 
the  tableau  at  the  end  of  the  first  act.  Time  of  representa- 
ation,  one  hour. 


SYLVIA'S   SOLDIER. 

TWO   ACTS. 
THREE  GENTLEMEN   AND   TWO   LADIES. 

THIS  little  comedy  represents  an  episode  of  the  late  war 
between  the  North  and  the  South,  and  belongs  to  a  collec- 


298  AMATEUR    THEATRICALS. 

tion  of  pieces,  especially  designed  for  private  representation, 
called  "  The  Amateur  Drama."  It  is  original  in  its  char- 
acter ;  and  when  well  cast,  and  performed,  as  it  should  be, 
in  a  sprightly  manner,  will  be  a  success  wherever  played. 

The  characters  are  Horace  Lyford,  the  patriotic  young 
hero  of  the  piece,  a  fine-comedy  part  for  a  gentleman  of 
versatility  ;  Arthur  Horton,  a  young  man  of  rather  timid 
character,  and  a  part  filled  with  ludicrous  points  for  the 
low-comedy  man ;  Mr.  Horton,  a  good  old-man's  part ; 
Sylvia  Horton,  his  daughter,  represented  as  a  very  patriotic 
young  lady,  who  carries  through  the  serious  part  of  the 
piece,  played  by  the  leading  lady  ;  and  Bessie  Bray,  in  love 
with  Arthur  Horton,  and  with  him  working  up  the  under- 
plot of  the  piece,  played  by  the  soubrette,  and  sparkling 
with  good  points.  No  scenery  will  be  required ;  and  the 
costumes  are,  of  course,  modern.  Time  of  representation, 
one  hour. 


DOING   FOR  THE    BEST.  299 

DOING   FOR  THE   BEST, 

TWO   ACTS. 
FIVE   GENTLEMEN   AND  THREE   LADIES. 

AMONG  the  recent  English  comedies,  no  one  has  made  a 
more  favorable  impression  than  this  short  domestic  piece, 
which,  in  many  respects,  is  well  adapted  to  the  amateur 
stage. 

The  characters  are  Dick  Stubbs,  represented  as  a  poor 
English  workman,  who  is  of  a  kind  heart,  always  carrying 
for  his  guiding  motto  the  title  of  the  comedy,  but  who  sud- 
denly forgets  his  honest  principle  upon  acquiring  an  unex- 
pected fortune,  and  dismisses  his  daughter's  lover,  a  poor 
but  formerly  respected  fellow-workman.  Stubbs,  however, 
at  length  sees  the  injustice  of  his  conduct,  and  the  family 
happiness  is  restored.  The  part  is  carefully  written  and 
worked  up  ;  and  in  the  hands  of  a  good,  but  not  broad,  low- 
comedy  actor,  is  a  very  artistic  character.  Harry,  the  son 
of  Stubbs,  is  a  short  part  for  the  walking  gentleman ;  Bill 
Hawkins  is  a  good  second-comedy  part ;  Mr.  Parchment, 
a  short  part  for  the  old  man  ;  Thomas  is  a  servant's  part ; 


300  AMATEUK    THEATRICALS. 

Betsey  Slubbs,  wife  to  Dick  Stubbs,  is  an  admirable  old- 
woman's  part ;  Jane  is  a  lively  soubrette's  part  ;  and  Emily, 
a  very  fair  part  for  the  walking  lady.  Scenery  is  not  neces- 
sary, but  would  be  very  appropriate  if  attainable ;  and 
some  costumes  will  be  required.  Time  of  representation, 
one  hour. 


DON   C^SAR   DE   BAZAN. 

THREE   ACTS. 
EIGHT  GENTLEMEN   AND   THREE   LADIES. 

THE  drama  of  "  Don  Cresar"  is  a  favorite  piece  with  the 
leading  actors  of  our  theatres  ;  and  it  possesses  many  claims 
to  favor  from  the  lively  style  in  which  it  is  written,  the 
beautiful  music  interspersed,  and  the  careful  manner  in 
which  many  of  the  characters  are  elaborated. 

The  character  of  Don  Caesar  is  a  dashing  comedy  part 
for  the  leading  man,  requiring  the  greatest  assurance  iu 
manner,  voice,  and  action,  and  a  corresponding  make-up  of 
the  personal  appearance  of  the  performer.  The  part  abounds 
in  witty  points  and  flashes  of  good-natured  sarcasm,  and  is 


DON    CAESAR    DE    BAZAN.  301 

very  taking  with  the  audience.  Don  Jose  is  a  very  good 
villain's  or  heavy-man's  part,  and  quite  an  important  one  in 
the  plot  of  the  piece.  Charles  II.,  King  of  Spain,  is  a 
very  good  second  juvenile-gentleman's  part.  Marquis  de 
Rotundo  is  a  short  but  amusing  old-man's  part.  Lazarillo 
is  a  very  interesting  young  page  of  Don  Cesar's,  usually 
played  by  the  soubrette  of  the  company.  Captain  of  the 
Guard,  Judge,  Pacolo,  and  Lopez,  are  utility  parts.  Mari- 
tana,  represented  in  the  piece  as  a  beautiful  young  gypsy- 
girl,  ambitious  of  rank  and  fortune,  and  beloved  by  Don 
Csesar,  is  a  very  fair  leading  juvenile-lady's  part.  Countess 
de  Rotundo  is  a  very  amusing  old-woman's  part,  affording  a 
good  opportunity  for  some  excellent  burlesque  acting.  There 
should  also  be  three  or  four  soldiers,  who  sing  in  the  chor- 
uses in  the  first  act.  The  piece  has  frequently  been  per- 
formed successfully  by  amateurs,  but  requires  a  great  deal 
of  preparation,  and  attention  to  rehearsal,  and  considerable 
outlay  in  the  way  of  scenery  and  costumes,  which  will  pro- 
bably prevent  its  very  general  performance.  It  is  recom- 
mended only,  when,  as  in  large  cities,  resources  of  every 
kind  are  at  hand,  and  it  is  desirable  to  produce  some- 
thing very  brilliant.  Time  of  representation,  one  hour  and 
a  quarter. 


302  AMATEUR   THEATRICALS. 


STILL   WATERS   RUN   DEEP. 

THREE  ACTS. 
SIX   OR   SEVEN   GENTLEMEN   AND   TWO   LADIES. 

IN  the  list  of  the  standard  drama,  there  are  probably  but 
very  few  pieces  in  any  way  suitable  for  private  perform- 
ance. The  comedy  of  the  above  title,  which  has  proba- 
bly attained  as  wide  a  representation  on  the  regular 
stage  as  any  modern  play  ever  written,  is  a  notable  excep- 
tion ;  having  but  a  limited  number  of  important  parts,  and 
those  of  such  a  style  as  to  be  readily  and  successfully  per- 
formed by  any  intelligent  company  of  amateurs,  John 
Mildmay,  the  leading  character  of  the  piece,  is  of  decidedly 
original  style,  opening  in  the  earlier  scenes  with  an  appa- 
rent simplicity  of  manner,  which,  to  the  surprise  of  all  who 
had  previously  misunderstood  his  real  nature,  develops  into 
one  of  deep  thought  and  a  knowledge  of  the  world,  com- 
pelling the  respect  and  admiration  of  those  who  thought 
him  devoid  of  all  manly  qualities.  Although  the  part  is 
sometimes  played  by  the  low-comedy  man,  it  has  none  of 


STILL    WATERS    RUN   DEEP.  303 

the  features  of  that  line  of  business  ;  nor  should  it  be  played 
as  a  very  juvenile  part,  but,  as  the  author  intended  it,  as 
one  of  Nature's  gentlemen  of  the  somewhat  mature  age  of 
thirty  or  thirty-five. 

Capt.  Hawksley  is  also  rather  a  peculiar  character,  repre- 
senting the  fashionable  villain  of  society,  with  all  the  char- 
acteristics of  the  criminal  toned  down  by  the  mask  of  edu- 
cation and  polished  manners. 

The  part  is  sometimes  played  by  the  leading  man.  Mr. 
Potter  is  a  simple  and  rather  jovial  old-man's  part,  played 
by  the  first  old  man.  Dunbilk,  a  confederate  of  Hawksley, 
is  an  Irish  character,  quite  short,  and  sometimes  omitted. 

Jessop  is  a  servant's  part.  Markham  and  Langford  are 
utility  parts,  appearing  only  in  the  last  scene.  Mrs.  Stern- 
hold,  the  leading-lady's  or  first  old-woman's  part,  is  repre- 
sented as  a  widow  lady,  rather  worldly  and  of  excitable 
temperament,  and  in  love  with  Hawksley.  It  is  a  part 
of  a  great  deal  of  character,  and  important  in  carrying 
through  the  piece.  Mrs.  Mildmay  is  the  young  wife  of 
John  Mildmay,  and  of  not  very  forcible  character,  who,  fol- 
lowing the  lead  of  Mrs.  Sternhold,  her  aunt,  forgets  the 
respect  due  to  her  husband,  John  Mildmay,  but  comes  to  a 
happy  understanding  at  last.  The  part  is  quite  an  interest- 


304  AMATEUR    THEATRICALS. 

ing  one  for  the  second  or  walking  lady.  Time  of  represen- 
tation, one  hour  and  three-quarters.  Scenery  can  be  dis- 
pensed with,  if  desired ;  and  the  curtain  must  then  be 
dropped  twice  in  the  second  act. 


THE  MARRIED   RAKE. 

ONE  ACT. 
TWO  GENTLEMEN  AND  THREE  LADIES. 

THIS  is  a  lively  little  comedy,  with  plot  so  slight,  that  it 
is  sometimes  called  a  farce,  although  it  is  really  of  a  rather 
higher  order.  Mr.  Fred.  Flighty,  the  hero  of  the  piece,  is 
a  dashing  light-comedy  part,  and  full  of  sharp  points.  Mrs. 
Trictrac,  a  young  widow  who  makes  it  her  duty  to  expose 
the  erratic  Flighty  to  his  unsuspecting  wife,  is  the  leading- 
lady's  part.  In  the  course  of  the  piece,  she  assumes  the 
character  and  dress  of  a  cornet  of  hussars.  For  the  length, 
it  is  one  of  the  best  light-comedy  parts  written. 

Mrs.  Flighty,  the  unsuspecting  wife,  a  second-lady's  part, 
is  also  a  very  good  comedy  character.  Susan  is  a  capital 
soubrette's  part,  and  should  be  in  the  hands  of  a  young 


A    PRETTY    PIECE    OF    BUSINESS.  305 

lady  of  talent  and  experience.  There  is  also  a  servant's 
part,  not  of  any  length,  but  which  cannot  very  well  be 
omitted.  The  piece  is  quite  simple,  and  generally  desirable 
where  the  numbers  of  a  company  are  limited.  Time  of 
representation,  three-quarters  of  an  hour. 


A  PRETTY  PIECE  OF  BUSINESS. 

ONE  ACT. 
TWO  GENTLEMEN  AND  THREE  LADIES. 

THIS  is  a  sparkling  little  comedy,  very  brisk  in  its  style, 
and  so  simple,  that  almost  any  one  might  attempt  it  with 
success.  There  are  scarcely  any  stage-properties  required, 
and  the  piece  can  be  carried  through  with  but  very  little 
trouble.  The  characters  are  Capt.  Felix  Merryweather,  a 
dashing  light-comedy  part,  usually  played  by  the  leading 
man  ;  Dr.  Launcelot  Shee,  also  a  capital  comedy  part,  usu- 
ally played  by  the  first  low  comedian ;  Miss  Charlotte 
Shee  and  Mrs.  Fanny  Grantley,  equally  excellent  comedy 
parts  in  the  leading-lady's  line  ;  and  Dobson,  one  of  the 
liveliest  chambermaid  or  soubrette's  rmrts  ever  acted.  The 
20 


306  AMATEUR    THEATRICALS. 

comedy  has  but  one  scene,  an  interior ;  is  filled  with  natural 
humor  and  laughable  mistakes,  without  any  objectionable 
features  whatever.  Time  of  representation,  three-quarters 
of  an  hour. 


THE   SERIOUS   FAMILY. 

THREE   ACTS. 

• 

FOUR   GENTLEMEN   AND   FOUR   LADIES. 

THIS  is  a  favorite  piece  with  amateurs,  although  the 
character  of  the  plot  is  too  frequently  distasteful  to  many, 
as  it  is  a  satire  upon  religion,  too  keen  and  sweeping  to 
pass  unnoticed  ;  and,  for  either  public  or  private  perform- 
ance, care  must  be  taken  that  the  representation  shall  not 
be  offensive  to  the  audience  in  any  case.  The  leading  char- 
acter is  Aminadab  Sleek,  pictured  as  a  hypocritical  preacher  ; 
and  the  part  is  full  of  points,  affording  a  wide  scope  for  a 
good  low-comedy  actor,  who  is  almost  invariably  sure  to 
make  a  hit  in  this  serio-comic  role.  Lady  Sowerby 
Creamly,  of  the  same  school  as  Sleek,  is  also  a  very  good 
part  played  by  the  first  old  woman.  Widow  Delmaine  is  a 


SIMPSON    &    CO.  307 

sparkling  light-comedy  part,  played  by  the  leading  lady. 
Mrs.  Charles  Torrens  and  Emma  Torrens  are  good  walk- 
ing-ladies' parts.  Capt.  Murphy  Maguire  is  also  a  fine- 
comedy  part,  played  by  the  leading  man.  Mr.  Charles 
Torrens  is  a  first  light-comedian's  part,  and  Fred.  Vincent 
is.  a  tolerable  walking-gentleman's  part. 

The  piece  should  not  be  played  by  inexperienced  ama- 
teurs, as  the  points  are  not  sufficiently  strong  to  carry  the 
piece  through  without  careful  action.  Time  of  representa- 
tion, one  hour  and  a  half. 


SIMPSON  &   CO. 

TWO   ACTS. 
THREE   GENTLEMEN   AND   FOUR   LADIES. 

THIS  very  fine  old  English  comedy,  frequently  performed 
upon  the  regular  stage,  is  not  so  well  known  to  amateurs  ; 
probably  from  its  somewhat  obscure  title,  which  would  give 
to  the  casual  observer  but  an  indifferent  idea  of  the  charac- 
ter of  the  piece.  The  incidents  of  this  comedy  are  purely 
domestic,  not  in  the  least  overdrawn,  and  abounding  in 


308  AMATEUR   THEATRICALS. 

natural  humor ;  while  there  is  scarcely  a  part  which  is  not 
excellent  in  its  way.  The  characters  are  Mr.  Peter  Simp- 
sou,  an  old-fashioned,  Platonic  business-man ;  first  old- 
man's  part.  Mr.  Bromley,  his  partner,  a  young  man  of 
somewhat  liberal  moral  principle ;  leading-juvenile  part. 
Mr.  Foster,  a  clerk  in  the  house  of  Simpson  &  Co. ;  utility 
man.  Mrs.  Simpson,  wife  of  Peter  Simpson,  a  lady  of 
rather  jealous  disposition,  who  persists  in  ascribing  Brom- 
ley's indiscretions  to  her  innocent  husband  ;  first  old-woman's 
part.  Mrs.  Bromley,  wife  to  Bromley,  whom  she  unsus- 
pectingly dotes  upon ;  juvenile-lady's  part.  Mrs.  Fitz- 
allan,  a  young  widow  related  to  Mrs.  Bromley,  to  whom 
Bromley  pays  his  addresses  under  an  assumed  name  ;  walk- 
ing-lady's part.  And  Madame  la  Trappe,  a  French  smuggler, 
who  unsuspectingly  arouses  Mrs.  Simpson's  suspicions  of  her 
husband  by  presenting  a  note  at  the  house,  which  had  been 
given  by  Bromley  to  the  lady  from  whom  she  received  it ; 
second  old-woman's  part.  The  piece  is  one,  that,  in  the 
hands  of  amateurs  of  some  experience,  cannot  fail  of  hearty 
appreciation  from  the  numerous  close-setting  hits  that  will 
tell  with  good  effect  on  all  the  married  spectators,  and  will  be 
scarcely  .less  enjoyed  by  those  not  as  fortunate.  There 
being  but  two  scenes,  and  those  interiors,  the  use  of  scenery 


MARRIED    LIFE.  309 

is  not  necessary ;  and  the  properties  are  such  as  can  be 
found  at  hand  in  any  household.  The  character  of  Madame 
la  Trappe  is  sometimes  omitted ;  but  the  point  of  the  plot 
is  improved  by  retaining  it,  if  possible.  The  dresses  are 
modern,  with  the  exception  of  Mr.  Simpson,  who  wears  an 
old-fashioned  English  gentleman's  costume.  Time  of  rep- 
resentation, one  hour  and  a  quarter. 


MARRIED   LIFE. 

THREE   ACTS. 
FIVE   GENTLEMEN   AND   FIVE   LADIES. 

THIS  admirable  comedy,  by  Buckstone,  is  of  the  style  best 
adapted  for  private  representation  ;  and,  were  it  not  for  the 
number  of  important  characters  included  in  the  cast,  it 
would  undoubtedly  be  a  favorite  piece  with  amateurs. 

The  characters  are  Mr.  Samuel  Coddle,  a  perfect  type  of 
the  whimsical,  testy,  and  exacting  old  married  man,  who 
makes  himself,  friends,  and  wife,  thoroughly  uncomfortable 
by  his  unreasonable  complaints,  to  the  great  amusement  of 
the  audience :  it  is  in  many  respects  the  leading  part  of  the 


310  AMATEUR    THEATRICALS. 

piece,  and  should  be  in  the  hands  of  some  gentleman  ex- 
perienced in  character-acting.  Mr.  Lionel  Lynx  is  a  fine- 
comedy  part,  usually  played  by  the  leading  man.  Mr.  Fred. 
Youughusband  is  also  a  first-rate  comedy  part,  of  about 
equal  importance  with  that  of  Lynx.  Mr.  Henry  Dove  is 
an  admirable  low-comedy  part,  quiet,  but  affording  a  good 
opportunity  for  any  gentleman  in  the  humorous  line.  Mr. 
George  Dismal  is,  as  the  name  implies,  a  rather  sombre  char- 
acter, usually  played  by  the  heavy  man,  and  is  quite  short. 

% 
Mrs.  Henry  Dove  is  represented   as  rather  old,  very  strict, 

and  much  exercised  to  keep  her  husband  in  good  manners. 
Mrs.  Samuel  Coddle,  the  leading-lady's  part,  has  many  very 
good  points,  and  her  scenes  with  Mr.  Coddle  are  very 
amusing.  Mrs.  Lionel  Lynx  is  represented  as  a  young 
wife  of  a  very  jealous  disposition ;  Mrs.  Coddle  in  the 
piece  being  the  particular  object  of  her  displeasure,  and 
the  innocent  cause  of  many  stormy  scenes  between  Mrs. 
Lynx  and  her  husband.  Mrs.  Fred.  Younghusband  is  rep- 
resented as  a  not  very  amiable  young  married  lady,  too 
frequently  at  sword's-point  with  her  husband.  Mrs.  George 
Dismal  is,  like  her  husband,  of  a  very  sombre  disposition  ; 
not  as  young  as  the  other  ladies  in  the  piece,  but  appar- 
ently quite  as  unhappy :  the  part  is  usually  played  by  the 


TWO    CAN    PLAY    AT   THAT    GAME.  311 

old  woman  of  the  company.  The  comedy  is  thoroughly 
domestic,  and  filled  with  the  numerous  incidents  and  contre- 
temps supposed  to  grow  out  of  "  married  life  ; "  and,  if  it  can 
be  well  cast,  is  sure  to  take  with  any  audience,  the  features 
being  too  natural  and  carefully  worded  to  offend.  Time  of 
representation,  one  hour  and  three-quarters.  The  changes 
of  locality  in  the  scenes  would  probably  require  the  use  of 
scenery. 


TWO   CAN   PLAY   AT  THAT   GAME. 

ONE  ACT. 
TWO  GENTLEMEN  AND  ONE  LADY. 

THIS  sprightly  little  comedy  is  just  the  thing  for  a  parlor 
entertainment,  where  the  stage  is  small,  and  a  piece  is  re- 
quired introducing  a  small  number  of  characters.  The 
scene  represented  is  an  ordinary  room  well  furnished,  the 
style  of  the  piece  and  the  characters  very  simple,  and  the 
dresses  modern.  Howard  Leslie,  the  leading-man's  part,  is 
a  nonchalant  comedy-character,  carrying  through  the  piece 
with  a  dry  humor  and  provoking  self-possession.  Charles 
Arundel,  the  young  married  friend  whom  Leslie  is  visiting, 


312  AMATEUR    THEATRICALS. 

is  written  somewhat  in  the  same  vein  as  the  part  of  Leslie, 
and  is  of  about  equal  importance.  Lucy  Arundel  is  the 
young  wife  of  Charles,  who,  influenced  by  her  aunt,  a  French 
novel,  and  her  own  jealousy,  tries  to  get  Leslie  out  of  the 
house,  and  away  from  her  husband,  by  persuading  him 
(Leslie)  that  she  loves  him,  and  he  must  remove  himself. 
He  discovers  her  games,  and  humors  it  by  a  declaration  ; 
while  Charles,  coming  in,  discovers  them,  and  the  lady  is  at 
last  vanquished.  Time  of  representation,  forty-five  min- 
utes. 


-     THE   RIGHTS   OF   MAN. 

TWO   ACTS. 
THREE   GENTLEMEN   AND  TWO   LADIES. 

FOR  a  parlor-performance,  this  comedy  can  also  be 
warmly  recommended.  The  point  of  the  piece  turns  upon 
the  oft-disputed  point,  as  to  who  shall  rule ;  and  is  satisfac- 
torily settled  in  this  particular  case,  as  it  no  doubt  has  been 
in  many  others  in  the  same  way.  The  characters  are  Sir 
William  Thornton,  a  domineering  old  English  baronet,  played 
by  the  first  old  man.  Hon.  Arthur  Ellesmere,  a  young  po- 


THE    HONEYMOON.  313 

litical  intriguer ;  a  very  good  comedy  part  for  the  leading 
man.  Walter  Grenville,  a  young  lawyer,  played  by  the 
walking  gentleman.  Lady  Aurora,  a  gay  young  widow,  in 
love  with  Arthur  Ellesmere  ;  a  dashing  comedy  part  for  the 
leading  lady.  Helen  Aubrey,  niece  to  Sir  William,  a  young 
lady  rather  opposed  to  matrimony,  but  finally  conceding  to 
superior  arguments  ;  and  Emily,  the  uncomplaining  wife  of 
Sir  William,  who  discovers  at  last  the  secret  of  vanquish- 
ing the  rights  of  man  ;  both  very  good  second-lady's  part. 

Scenery  is  not  necessary,  there  being  but  one  scene,  —  an 
ordinary  parlor,  nicely  furnished.  Time  of  representation, 
one  hour  and  thirty  minutes. 


THE    HONEYMOON. 

THREE   ACTS. 
EIGHT   GENTLEMEN   AND  THREE    LADIES. 

THE  comedy  of  "  The  Honeymoon,"  which  has  for  over 
fifty  years  maintained  a  brilliant  position  upon  the  regular 
stage,  has  within  the  past  two  years  been  successfully  per- 
formed upon  the  amateur  stage.  Although  a  reading  of  the 


314  AMATEUR    THEATRICALS. 

piece  would  seem  to  present  many  difficulties  to  its  private 
representation,  yet  they  can  be  readily  overcome  ;  and  the 
satisfaction  of  a  creditable  performance  will  amply  repay 
the  preliminary  labor. 

The  characters  are  numerous,  and  almost  all  excellent. 
Duke  Aranza  is  the  leading  part,  and  is  generally  made  up 
as  about  thirty  years  of  age,  and  possesses  some  splendid 
points  for  dramatic  and  elocutionary  effects.  Rolando,  a 
young  soldier,  is  of  nearly  equal  importance  with  the  duke's 
part ;  and  is  written  in  a  dashing  style,  which  takes  well 
with  the  audience,  and  possesses  many  brilliant  points. 
Balthazar  is  a  very  natural  old-man's  part ;  his  speeches 
being  well  and  forcibly  written.  Count  Montalban  is  a 
very  good  walking-gentleman's  part,  requiring  to  be  care- 
fully dressed.  Jaques  (the  mock  duke)  is  a  capital  low- 
comedy  part,  affording  an  admirable  opportunity  for  bur- 
lesque acting,  invariably  receiving  the  applause  of  the  audi- 
ence. Lopez  is  a  short  and  quite  humorous  part,  and 
Campillio  and  Pedro  are  servants'  parts. 

Juliana,  the  leading-lady's  part,  possesses  a  great  deal 
of  character,  and  exhibits  well  the  versatility  of  the  lady 
performing  it.  Volante  is  a  sprightly  comedy  part,  quite 
important,  and  full  of  taking  points.  Zamora  is  a  highly 


DELICATE    GROUND.  315 

interesting  part  for  the  soubrette,  very  naturally  written, 
and  involuntarily  enlisting  the  sympathies  of  the^  audience. 
The  play  is  printed  in  five  acts,  but  is  seldom  so  performed 
at  the  regular  theatres.  It  is  reduced  to  three  acts  by 
omitting  scene  three  in  the  third  act  as  printed,  scene  one 
in  the  fourth  act,  scene  three  in  act  four,  the  mask-scene 
in  the  second  scene  of  the  fifth  act ;  and  by  playing  the 
second  and  third  acts  in  one,  and  also  the  fourth  and  filth 
together  :  by  this  arrangement,  the  part  of  Lampedo  is  omit- 
ted. The  piece  will  require  scenery  and  costumes.  Time 
of  representation,  one  hour  and  a  half. 


DELICATE   GROUND. 

ONE  ACT. 
TWO  GENTLEMEN  AND  ONE  LADY. 

THE  comedy  of  "  Delicate  Ground  "  has  always  been  a 
favorite  with  amateurs  ;  probably  for  the  reason  that  it  has 
so  slight  a  plot,  that  they  can  hardly  fail  of  getting  through 
the  piece  tolerably  well ;  and  private  audiences  are  generally 
disposed  to  be  generous.  The  principal  merit  it  possesses 


316  AMATEUR    THEATRICALS. 

is,  that  it  introduces  but  three  characters ;  so  small  a  num- 
ber, that  >they  can  be  obtained  almost  anywhere.  The 
characters  are  Citizen  Sangfroid,  the  leading-man's  part, 
and  a  nonchalant  and  rather  amusing  piece  of  comedy  act- 
ing ;  Monsieur  Alphonse,  an  old  lover  of  Madam  Sangfroid,  a 
rather  foppish  comedy  part ;  and  Pauline,  wife  to  Sangfroid, 
a  lively  comedy  part  for  the  leading  lady.  The  piece  is 
Frenchy,  and  rather  colloquial  in  its  style,  but  too  superficial 
for  any  great  effects  in  action.  No  scenery  will  be  required, 
and  the  piece  may  be  dressed  modern,  or  in  the  French 
costume  of  the  last  century.  Time  of  representation,  forty- 
five  minutes. 

A  MORNING  CALL. 

ONE  ACT. 
ONE  GENTLEMAN  AND  ONE  LADY. 

WHEN  the  resources  of  ladies  and  gentlemen  are  exceed- 
ingly limited  in  the  available  talent  required  for  an  amateur 
performance,  the  little  comedy  of  the  above  title  is  sug- 
gested. 

Though  Having  scarcely  an  apology  for  a  plot,  it  still 


ALL  THAT  GLITTERS  IS  NOT  GOLD.         317 

possesses  some  attractiveness  in  the  way  of  sprightly  dia- 
logue ;  and  a  few  original  interpolations  in  the  text,  with 
some  local  hits,  will  make  its  representation  quite  pleasing. 
The  leading-man's  part  is  Sir  Edward  Ardent,  whose  ad- 
vances to  Mrs.  Chillingtone  being  repulsed,  he  feigns  indif- 
ference, and  at  last  wins  the  victory. 

Mrs.  Chillingtone,  played  by  the  leading  lady,  enjoys 
the  pleasure  of  trifling  with  Sir  Edward  for  a  brief  time, 
but  finally  yields  in  the  usual  feminine  way,  to  his  satis- 
faction and  that  of  the  audience. 

The  piece  should  be  carefully  rehearsed,  and  the  perform- 
ance not  hurried  through.  Time  of  representation,  three- 
quarters  of  an  hour. 


ALL  THAT  GLITTERS  IS  NOT  GOLD. 

TWO   ACTS. 
SIX   GENTLEMEN   AND   THREE   LADIES. 

THIS  comedy,  by  the  well-known  Mortons,  has,  from  its 
numerous  interesting  features,  always  been  a  great  favorite 
with  amateurs,  as  well  as  regular  theatre  patrons.  The 


318  AMATEUR    THEATRICALS. 

scene  is  laid  in  one  of  the  numerous  factory-villages  in 
England  ;  and  the  plot  is  simple  and  natural,  but  little  expe- 
rience being  required  to  effectively  present  the  drama. 

The  characters  are  Jasper  Plum,  represented  as  an  old 
man  having  grown  rich  by  cotton-spinning,  and  proprietor 
of  a  large  factory  ;  a  very  fine  old-man's  part,  replete  with 
natural  humor  and  well-conceived  fits  of  anger.  Stephen 
Plum,  the  leading-young-man's  part,  is  more  difficult,  the 
lines  being  given  with  the  Yorkshire  accent,  but  possessing 
numerous  strong  points  of  pathos  and  humor.  Frederick 
Plum,  brother  of  Stephen,  a  gentlemanly  part,  played  by 
the  walking  gentleman.  Sir  Arthur  Lascelles,  a  fashiona- 
ble villain's  part,  short,  but  well  written,  and  effective  in 
good  hands.  Toby  Twinkle,  one  of  the  best  low-comedy 
parts  ever  written  for  the  English  stage ;  frequently  chosen 
as  a  star  part  by  professionals  in  this  line,  and  of 
almost  equal  prominence  with  the  leading  part.  It  is, 
however,  by  no  means  *a  difficult  assumption  ;  and,  if  played 
as  written,  can  hardly  fail  of  applause.  Harris  is  a  servant 
of  the  Plums  ;  a  bumpkin's  part,  very  short,  but  quite  hu- 
morous. Martha  Gibbs  is  the  leading  juvenile-lady's  part. 
She  is  represented,  as  the  piece  opens,  as  an  operative  in 
Plum's  factory,  whom  Stephen  loves,  much  against  the 


THE    DUMB    BELLE.  319 

wishes  of  his  father,  who  finally  consents  to  receive  her  as 
Stephen's  wife,  provided  that,  for  the  space  of  three  months, 
she  does  nothing  to  forfeit  his  good  opinion  ;  and  upon  her 
constancy,  while  exposed  to  numerous  temptations  during 
this  time,  centres  the  interest  of  the  piece.  Lady  Leather- 
bridge  is  an  intriguing  woman  of  the  world,  and  is  an 
excellent  old-woman's  part ;  and  Lady  Valeria,  wife  to 
Frederick  Plum,  a  good  walking-lady's  part.  The  servants 
mentioned  in  the  book  may  be  used  outside  the  stage  for 
the  shouts  incident  to  the  business  of  the  piece.  The  piece 
can  be  played,  if  desired,  without  scenery.  Time  of  repre- 
sentation, one  hour  and  a  quarter. 


THE   DUMB   BELLE. 

ONE   ACT. 
FOUR  GENTLEMEN   AND   TWO   LADIES. 

THIS  lively  little  comedy  only  needs  to  be  known  to  be 
admired  by  all  hearing  it,  and  is  very  well  adapted  to 
amateurs.  The  characters  are  all  very  good,  and  the  point 
of  the  piece  ingenious  and  amusing. 


320  AMATEUll    THEATRICALS. 

The  characters  are  Capt.  Vivian,  a  returned  officer,  in 
search  of  a  woman  who  can  hold  her  tongue,  an  excellent 
light-comedy  part ;  Mr.  Manvers,  a  very  good  old-man's 
part ;  Smirk,  a  capital  Irish  servant's  part ;  James,  a  gar- 
dener, generally  omitted  ;  Eliza,  daughter  of  Mr.  Mauvers, 
who  personates  the  dumb  belle  with  great  effect  on  Vivian, 
effecting  a  radical  cure  in  his  sentiments  ;  and  Mary,  ser- 
vant to  Eliza,  a  good  chambermaid's  part.  The  piece  re- 
quires no  costumes  of  importance,  and  can  be  played  by 
almost  any  company  of  amateurs.  Time  of  representation, 
forty  minutes. 


WHO   KILLED   COCK  ROBIN? 

TWO   ACTS. 
TWO   GENTLEMEN   AND    TWO    LADIES. 

THIS  is  one  of  Charles  Matthews's  freshest  comedies,  and 
is  full  of  the  humor  which  always  gives  life  to  his  produc- 
tions. The  situations  are  very  amusing,  and  tho  dialogue 
contains  scarely  a  single  dull  speech. 

The  characters  are  Abel  Tinkle,  a  retired  muffin-specu- 


DAY   AFTER   THE    WEDDING.  321 

lator,  and  a  capital  part  for  the  first  old  man ;  Jack  Rag- 
gett, a  philosophical  and  independent  man  of  the  world,  a 
very  original  character  for  the  light  comedian  ;  Satauella, 
daughter  of  Abel  Tinkle,  and  a  thorough-bred  descendant 
of  the  Incas,  of  fierce  temper  and  questionable  disposition, 
who  marries  Raggett  for  the  purpose  of  being  revenged 
upon  him  (a  great  part  for  the  leading  lady)  ;  and  Hannah, 
servant  of  the  Tinkle  family,  a  pert  young  lady,  fond  of 
her  leisure,  an  excellent  soubrette's  part.  The  piece  will 
require  some  preparation  as  regards  properties,  but  can  be 
played  without  scenery.  Time  of  representation,  oue  hour 
and  fifteen  minutes. 


DAY  AFTER  THE  WEDDING. 

ONE  ACT. 
THREE   GENTLEMEN   AND   TWO   LADIES. 

THE  petit  comedy  of  the  above  title  has  always  been  a 
favorite  with  actors  of  the  regular  stage,  although  it  pos- 
sesses no  attraction  of  plot  or  amusing  scenes  to  recommend 
it.     It  is  desirable  for  private  representation,  for  the  reason 
21 


322  AMATEUR    THEATRICALS. 

that  there  are  but  few  characters,  and  those  such  as  would 
be  very  generally  attainable. 

Col.  Freelove  is  the  leading-gentleman's  part,  and  is 
written  in  the  rather  dry-comedy  style.  Lord  Rivers  is  of 
about  the  same  range  of  character,  but  rather  more  serious. 
James  is  a.  servant's  part.  Lady  Elizabeth  is  the  very  im- 
pulsive, capricious,  and  decidedly  unmanageable  bride  of  a 
day,  whose  eccentricities  are,  however,  happily  terminated 
by  the  ingenious  ruse  of  Col.  Freelove,  played  by  the  lead- 
ing lady  and  Mrs.  Davies,  an  old-woman's  or  chambermaid's 
part.  The  positions  and  text  should  be  very  carefully  re- 
hearsed, as  every  thing  depends  on  the  sprightly  action  of 
the  business.  No  scenery  will  be  required.  Time  of  repre- 
sentation, thirty  minutes. 


WHO   SPEAKS   FIRST? 

ONE  ACT. 
THREE  GENTLEMAN  AND  TWO  LADIES. 

THIS  is  a  lively  little  domestic  comedy,  or  rather  episode, 
representing  a  young  gentleman  and  his  bride  shortly  after 


WHO    SPEAKS    FIRST?  323 

the  honeymoon.  They  have  quarrelled  ;  and  each  has  deter- 
mined to  keep  silence  until  the  other  speaks  first,  and  are 
supposed  to  have  adhered  to  their  determination  for  a  whole 
week ;  when  Capt.  Charles,  a  brother  of  the  lady,  who  has 
been  absent  many  years,  returns,  and  comes  upon  the  scene, 
provokes  the  husband's  jealousy  and  the  lady's  anger  by  his 
familiarity  (not  being  recognized),  and,  forcing  them  to  a 
vigorous  dispute,  explains  his  identity,  and  the  scene  closes 
pleasantly. 

The  part  of  Charles  is  an  admirable  light-comedy  char- 
acter. Ernest  Militant  is  the  young  and  irascible  husband, 
also  an  excellent  part.  Potter  is  an  amusing  old  man's 
part ;  Mrs.  Militant,  a  very  forcible  comedy  part  for  the 
leading  lady  ;  and  Smart,  a  dashing  soubrette's  part.  The 
piece  should  be  played  in  a  lively  manner,  and  is  generally 
very  taking.  No  scenery  or  fancy  costumes  will  be  re- 
quired. Time  of  representation,  forty-five  minutes. 


324 


AMATKUK    THEATRICALS. 


ONLY   A   CLOD. 

ONE  ACT. 
FOUR  GENTLEMEN  AND  TWO  LADIES. 

THIS  is  a  short  domestic  drama,  very  simple  in  its  plot, 
and,  from  the  class  of  characters  represented,  can  readily 
be  performed  by  any  company  of  amateurs.  The  scene 
is  laid  in  England,  and  is  a  little  picture  of  one  of  those 
unfortunate  mesalliances  —  of  a  rather  rough  country  gentle- 
man with  a  lady  of  superior  education  ;  although,  in  this  case, 
the  parties  come  to  a  happy  understanding  at  last. 

Harry  Thorncote,  the  leading-man's  part,  is  an  unpolished 
country  gentleman,  who  unsuspectingly  entertains  at  his 
house  two  gentlemen,  who  treat  him  as  an  inferior,  with  a 
patronizing  air,  and  at  the  same  time  take  advantage  of  his 
hospitality  to  pay  their  addresses  privately  to  his  wife.  They 
are  discovered  by  Harry,  their  plans  discomfited ;  and  Mrs. 
Thorncote  at  last  recognizes  the  true  worth  of  her  husband. 
Sir  Cyril  Beaumorris  and  Mr.  Babbleton  are  men  of  the 
world ;  and  Owlet  is  a  servant's  part.  Grace  Thorncote, 


ONLY    A    CLOD.  325 

the  leading-lady's  part,  is  represented  as  a  lady,  who,  de- 
spising her  husband's  unpolished  manners,  is  attracted  by 
Sir  Cyril's  easy  flattery,  but  learns  his  real  intention,  and 
gladly  makes  reparation  to  her  husband.  The  piece  re- 
quires no  scenery.  Time  of  representation,  forty  minutes. 


DRAMAS. 


SECOND    LOVE. 

THREE    ACTS. 
THREE    GENTLEMEN   AND   THREE    LADIES. 

THIS  is  a  pleasing  domestic  drama,  very  natural  and 
original  in  its  plot,  and  admirably  adapted  to  the  amateur 
stage. 

The  character  of  Elinor  Mowbray,  the  blind  heiress,  is 
extremely  touching  and  forcible,  and,  in  the  hands  of  a  lady 
who  excels  in  emotional  parts,  would  be  very  effective. 
Ralph  Thornhill,  the  leading-juvenile-gentleman's  part,  is 
represented  as  the  simple  but  generous-hearted  cousin  of 
Elinor  Mowbray,  the  companion  of  her  childhood,  and  to 
whom  she  at  last  turns  when  she  finds  her  first  lover  has 
deceived  her.  Col.  Dangerfield  is  also  represented  as  a 
cousin  of  Elinor's,  who,  under  an  assumed  name,  wins  her 

326 


SECOND    LOVE.  327 

love  with  the  intention  of  obtaining  her  supposed  fortune  : 
at  the  same  time  he  also  woos  Mildred  Vernon,  a  friend  of 
Elinor's,  but  is  discovered  by  Elinor,  who,  unknown  to  him, 
has  regained  her  sight.  The  part  is  an  excellent  one  for 
the  heavy  man  of  the  company.  Hawbuck  is  a  servant  in 
Elinor  Mowbray's  house,  who,  apparently  stupid,  is  really 
on  the  alert  at  all  times,  and  plays  an  important  part  in  the 
unravelling  of  the  plot,  and  in  the  final  discovery  of  Danger- 
field.  The  part  is  generally  given  with  the  Lancashire 
dialect,  and  is  a  very  fine  low-comedy  character.  Mildred 
Vernon  is  a  very  good  second-lady's  part,  requiring  to  be 
well  costumed,  and  played  with  spirit.  Lucy  is  represented 
as  an  attached  servant  of  Elinor  Mowbray,  rather  partial  to 
Hawbuck,  and  very  fond  of  Ralph  and  her  mistress.  The 
part  is  an  excellent  soubrette  or  chambermaid's  character, 
and  is  sometimes  made  up  older,  and  played  by  the  old 
woman.  The  incidents  at  the  close  of  each  act  are  such, 
that  the  characters  may  be  grouped  in  natural  and  striking 
tableau  ;  and,  with  sufficient  rehearsal,  the  piece  will  be 
found  to  take  unusually  well.  Time  of  representation,  one 
hour  and  a  quarter. 


328 


AMATEUR    THEATRICALS. 


DREAMS   OF   DELUSION. 

FIVE   GENTLEMEN    AND   TWO    LADIES. 

THIS  is  a  highly  interesting  drama,  somewhat  of  the  sen- 
sational order,  being  a  translation  from  the  French ;  and 
affords  an  excellent  opportunity  for  a  gentleman  in  the 
heavier  style  of  acting.  Sir  Bernard  Harleigh,  the  leadiug- 
juvenile-man's  character,  is  represented  as  a  young  English 
gentlemala,  who,  jealous  of  a  certain  young  man  whom  he 
imagines  is  paying  his  addresses  to  his  wife,  suddenly  meets 
him  on  the  banks  of  a  river,  and  plunges  him  into  the  water, 
and,  as  he  supposes,  kills  him.  This  act  turns  his  brain  ; 
and,  to  escape  the  imaginary  phantom  of  his  murdered 
friend,  he  travels  from  place  to  place  over  Europe,  finally 
changing  his  name,  and  settling  down  in  a  retired  part  of 
Sussex  in  England.  The  part  is  full  of  very  telling  points, 
arid,  in  the  hands  of  an  actor  of  talent,  will  be  very  taking. 
Dr.  Pungent,  played  by  the  first  old  man,  is  a  very 
important  part  in  the  piece,  in  whose  hands  is  the  unravel- 
ling of  the  entire  plot :  it  is  replete  with  numerous  good 


TIME   TRIES    ALL.  329 

points  of  humor  and  pathos.  Maunder  is  a  fashionable 
coxcomb's  part,  short,  but  very  good. 

Lord  Arthur  Brandon  is  the  first  walking-gentleman's 
part,  and  is  also  a  very  fair  part.  Bobby  is  a  country 
bumpkin's  part,  short,  but  can  be  made  quite  humorous. 
Lady  Viola  Harleigh,  wife  to  Sir  Bernard,  is  the  leading- 
juvenile-lady's  part ;  and  is  a  very  natural  and  pleasing 
character,  involuntarily  securing  the  sympathy  and  approval 
of  the  audience. 

Amabel,  the  niece  of  Lady  Viola,  is  a  sprightly  young- 
lady's  part,  played  by  the  walking  lady  or  soubrette.  Time 
of  representation,  one  hour.  There  is  but  one  scene  in  the 
piece,  —  a  lady's  sitting-room  or  summer-house,  which  can  be 
arranged  readily  without  scenery. 


TIME   TRIES   ALL. 

TWO   ACTS. 
FIVE   GENTLEMEN  AND   TWO    LADIES. 

THIS  pleasing  domestic  drama,  though  of  late  years  sel- 
dom performed  upon  the  regular  stage,  is  admirably  adapted 
for  private  representation.  Matthew  Bates,  the  leading  ju- 


830  AMATEUR    THEATRICALS. 

venile  gentleman,  is  represented  in  the  first  act  as  a  young 
man  of  rather  unfinished  manners,  and  deeply  in  love  with  his 
cousin,  Laura  Leeson,  who,  on  account  of  his  unprepossess- 
ing appearance,  rejects  his  proposals  ;  and  he  leaves  the  house 
to  go  abroad.  After  the  lapse  of  a  few  years,  he  returns, 
very  much  improved  in  manners  and  personal  appearance. 
Feigning  indifference,  he  discovers  that  Laura  really  loves 
him  ;  and  the  pleasing  denoument  terminates  the  piece  hap- 
pily. Mr.  Leeson  is  an  admirable  old-man's  part,  full  of 
life  and  humor,  and  capable  of  being  worked  up  with  tell- 
ing effect.  Hon.  Augustus  Collander  Yawn  is  a  fashiona- 
ble coxcomb's  part,  representing  the  very  extreme  of  that 
line  of  business :  it  should  be  carefully  dressed,  and,  if  well 
played,  adds  considerably  to  the  attractiveness  of  the  piece. 
Mr.  Charles  Clinton,  the  walking-gentleman's  part,  is  a  fash- 
ionable young  man,  and  the  rival  of  Matthew  Bates.  Tom 
Tact,  the  servant  of  Mr.  Bates,  is  a  very  good  low-comedy 
part,  affording,  like  the  part  of  Matthew,  a  good  opportunity 
for  a  display  of  versatility  in  acting,  in  the  contrast  of  style 
of  the  scenes  in  the  first  and  second  acts.  Laura  Leeson, 
the  leading-lady's  character,  is  a  very  effective  and  exceed- 
ingly well- written  part ;  her  struggles  with  worldly  pride,  and 
the  natural  promptings  of  her  heart,  insuring  the  greatest 


THE    HARD    STRUGGLE.  331 

interest  and  sympathy  of  the  audience.  Fanny  Fact  is  a 
sprightly  soubrette's  or  chambermaid's  part ;  the  scene  with 
Tom  Tact  and  Mr.  Leeson  being  full  of  humor  and  laugh- 
able points. 

Time  of  representation,  one  hour  and  a  quarter.  The  piece 
represents  the  scene  as  taking  place  in  an  ordinary  room, 
and  will  require  no  scenery. 


THE  HARD   STRUGGLE. 

ONE  ACT. 
THREE  GENTLEMEN  AND  TWO  LADIES. 

THIS  pretty  little  drama  has  every  thing  to  commend  it 
for  the  purposes  of  the  amateur  stage,  having  but  few  char- 
acters ;  is  so  simple  in  its  construction,  as  to  be  played  by 
the  most  inexperienced  with  success  ;  and  is,  at  the  same 
time,  of  a  very  interesting  nature.  The  characters  are 
Reuben  Holt,  represented  as  a  kind-hearted  but  rather 
rough-mannered  young  country-gentleman,  in  love  with  Lil- 
lian Trevor,  his  guardian's  daughter.  Lillian  had  felt  a 
friendly  attachment  for  Reuben  from  childhood,  and  had 


332  AMATEUR   THEATRICALS. 

promised  him  her  hand  in  marriage :  but,  having  been 
obliged  to  leave  home  for  a  period  of  some  months  on 
account  of  ill  health,  she  is  taken  sick  with  a  fever,  and  her 
life  is  only  saved  by  a  young  physician  named  Fergus  Gra- 
ham, who  naturally  becomes  attached  to  his  young  patient, 
while  she  returns  his  love,  although  no  declaration  is  made  ; 
and  she  comes  back  to  her  home  prepared  to  sacrifice  her 
feelings,  and  redeem  her  promise  to  Reuben.  She  is,  un- 
known to  herself,  followed  by  Graham,  who  seeks  an  inter- 
view with  her,  is  seen  by  Reuben,  and  an  explanation  ensues, 
which  results  in  Reuben  giving  up  his  claim  to  Lillian's  hand, 
and  sacrificing  his  own  claims  to  Graham.  Fergus  Graham 
is  a  character  rather  above  the  usual  line  of  walking  gen- 
tlemen, but  generally  so  cast.  Mr.  Trevor  is  represented 
as  a  rich  farmer  of  rather  defective  education,  and,  like  Mrs. 
Malaprop  in  u  The  Poor  Gentleman,"  very  apt  to  use  the 
incorrect  words  in  the  rigl^t  place,  making  many  amusing 
mistakes :  the  character  is  an  admirable  old  man's  part. 

Lillian  Trevor,  the  leading-juvenile-lady's  part,  is  very 
interesting,  and  possesses  many  points  of  real  sentiment. 
Amy,  Mr.  Trevor's  orphan  grandchild,  aged  thirteen,  is  a 
very  natural  child's  part,  very  simple  and  touching,  and 
very  pleasing  to  the  audience.  The  landlady  of  the  Old 


LAVATER;  OB,  NOT  A  BAD  JUDGE.      333 

Swan  is  a  short  and  unimportant  old-woman's  part.  The 
part  of  Susan  is  generally  omitted  ;  Amy  speaking  the  few 
lines  alloted  to  her  in  the  first  scene.  Scenery  can  be  dis- 
pensed with  in  this  piece  ;  but  the  furniture  will  require  to 
be  changed  in  the  course  of  the  performance.  Time  of  rep- 
resentation, one  hour. 


LAVATER ;    OR,   NOT   A   BAD  JUDGE. 

TWO   ACTS. 
EIGHT   GENTLEMEN   AND   TWO   LADIES. 

THIS  drama  is  founded  on  the  accredited  power  of  the 
celebrated  Lavater,  the  physiognomist,  who  is  said  to 
have  possessed  the  remarkable  power  of  reading  a  per- 
son's character,  with  great  correctness,  from  a  glance  at 
the  face  of  any  one  he  might  meet.  This  circumstance  is 
woven  into  the  plot  of  this  entertaining  drama,  which  pos- 
sesses many  other  attractive  features.  The  characters  are 
John  Caspar  Lavater,  represented  as  a  man  about  forty 
years  of  age,  and  played  either  by  the  old  man  or  the  lead- 
ing man  ;  Marquis  de  Treval,  an  excellent  heavy-man's 


334  AMATEUR   THEATRICALS. 

part ;  Christien,  a  good  walking-gentleman's  part ;  Betman, 
a  very  good  low-comedy  part ;  Zug,  Sergeant  Rutley,  and 
Monsieur  Lavigney,  utility  parts  ;  Louise,  the  juvenile-la- 
dy's part,  very  simple  and  pleasing ;  and  Madame  Betman, 
a  walking-lady's  part.  Count  de  Steinberg,  father  of  Louise, 
is  the  old  man's  part,  and  a  capital  character.  The  piece 
will  require  scenery  and  costume.  Time  of  representation, 
one  hour  and  a  quarter. 


FAINT   HEART  NEVER  WON   FAIR   LADY. 

ONE  ACT. 
FOUR   GENTLEMEN   AND  THREE   LADIES. 

THE  play  of  "  Faint  Heart  never  won  Fair  Lady  "  is 
probably  too  well  known  to  require  any  lengthy  description 
here.  It  is  a  light  and  rather  pleasing  piece,  and  is  quite 
a  favorite  with  amateurs. 

The  characters  are  Ruy  Gomez,  a  poor  lieutenant  in  the 
Spanish  army,  who  aspires  to  the  hand  of  the  Duchesse  de 
Torrenueva,  a  lady  far  above  him  in  rank,  who  at  first  re- 
pulses his  bold  advances,  but  at  last  reluctantly  admits  her 


TO  PARENTS  AND  GUARDIANS.  335 

love  for  him  ;  and  his  persistency  is  rewarded.  Gomez  is 
the  leading-juvenile-man's  part,  and  is  a  sparkling  comedy 
character.  The  Marquis  de  Santa  Cruz,  is  the  unwelcome 
lover  of  the  duchesse,  who  meets  with  discomfiture  in  his 
fruitless  suit,  and  is  played  by  the  first  old  man  :  there  is 
also  a  servant's  part.  The  duchesse  is  a  fine  comedy  part 
for  the  leading  lady,  and  should  be  richly  dressed.  King 
Charles  is  an  engaging  part  for  the  soubrette  ;  and  Donna 
Lucrezia,  a  good  old-woman's  part. 

The  piece  will  require  costumes  ;  but  scenery  is  not  indis- 
pensable. Time  of  representation,  three-quarters  of  an 
hour. 


TO  PARENTS  AND  GUARDIANS. 

TWO  ACTS. 
FOUR   GENTLEMEN   AND    FIVE    LADIES. 

THIS  comic  drama,  the  authorship  of  which  has  often 
been  disputed,  is  written  as  a  burlesque  on  the  style  of 
English  private  schools,  and  is  very  original,  and  replete 
with  amusing  incidents.  The  characters  are  Monsieur 


336  AMATEUR    THEATRICALS. 

Tourbillon,  an  old  French  professor,  a  very  touching  old- 
man's  part ;  Waddilove,  a  ludicrous  low-comedy  part ;  Mr. 
Swish,  a  good  old-man's  part ;  Nabbles,  a  farmer,  quite  a 
short  part ;  Bob  Nettles,  represented  as  a  harum-scarum 
young  lad  of  fifteen,  a  part  full  of  points  and  lively  action, 
usually  played  by  the  leading  soubrette  ;  Virginie,  daughter 
of  M.  Tourbillon,  an  interesting  second-lady's  part ;  Lady 
Nettles,  a  fashionable  lady,  mother  of  Bob  Nettles,  walk- 
ing lady  ;  and  Mary  Swish,  daughter  of  Mr.  Swish,  master 
of  the  school,  a  young-girl's  part,  played  by  the  second 
soubrette.  The  piece  should  have  scenery,  if  possible, 
and  a  number  of  boys,  or  girls  so  dressed,  for  the  parts  of 
Skutler,  Scraggs,  and  for  the  schoolrcom-scene.  Time  of 
representation,  one  hour. 


FARCES. 


IN  describing  this  popular  branch  of  the  minor  drama, 
it  will  be  unnecessary  to  give  definite  outlines  of  each  piece, 
which,  in  many  respects,  bears  a  close  resemblance  to  many 
others  of  the  class.  There  will  be  given  under  this  head 
a  selection  from  the  immense  number  published  of  those 
pieces  that  are  particularly  suitable  to,  and  have  been  actu- 
ally performed  by  amateurs. 


TURN   HIM    OUT. 

THREE   GENTLEMEN   AND   TWO    LADIES. 

THIS  is  one  of  the  broad  and  noisy  style  of  farces,  and 
the  greatest  success  of  any  lately  published.     The  charac- 
ters are  Nicodemus    Nobbs,  first  low-comedy  man ;    Mr. 
Moke,  second  low-comedy  man  ;    Eglantine  Roseleaf,  the 
22  337 


338 


AMATEUR    THEATRICALS. 


beau-ideal  of  a  fashionable  coxcomb  ;  Julia,  first  walking 
lady ;  and  Susan,  the  soubrette's  part.  Time  of  represen- 
tation, thirty  minutes. 


BOX  AND  COX. 

TWO  GENTLEMEN  AND  ONE  LADY. 

THIS  is  a  standard  farce,  which  has  stood  the  test  of 
many  years,  and  is  still  a  favorite.  Mr.  Box  and  Mr.  Cox 
are  first  low-comedy  parts  of  about  equal  range  ;  and  Mrs. 
Bouncer,  the  only  lady  character,  is  a  good  old-woman's 
part.  Time  of  representation,  thirty  minutes. 

ON   THE   SLY. 

THREE   GENTLEMEN   AND   TWO   LADIES. 

THIS  is  a  new  farce,  very  lively,  but  not  broad,  and  can 
be  readily  cast  and  performed.  Mr.  John  Dibbits,  a  hen- 
pecked husband,  is  the  first  low-comedy  part ;  Major  Grow- 
ler, an  eccentric  comedy  part ;  Wagstaff,  walking  gentle- 
man ;  Mrs.  Dibbits,  a  strong-minded  lady,  first  walking 
lady ;  and  Martha,  the  soubrette's  part. 


A   SEA    OF   TROUBLES  J    ETC.  339 


A  SEA   OF   TROUBLES. 

EIGHT  GENTLEMEN. 

THIS  farce  is  one  of  the  collection  called  the  "  Amateur 
Drama,"  and  is  very  desirable  where  only  male  characters 
are  attainable  ;  the  incidents  being  ingenious  and  amusing. 
The  characters  are  Godolphus  Gout,  an  invalid,  a  first 
old-man's  part ;  Hiram  Orcutt,  a  Yankee ;  Stammering 
Steve,  a  professor  of  elocution  ;  Byron  Bobolink,  a  bud- 
ding poet ;  Midde  McShane,  a  red-hot  Irishman ;  Rob- 
ert, Gout's  nephew ;  and  Sam,  Gout's  servant.  All  of 
the  parts,  with  the  exception  of  the  first  and  the  last  two 
mentioned,  are  eccentric-comedy  characters,  and  can  be 
made  very  ludicrous  and  entertaining. 


HIT   HIM:   HE   HAS   NO   FRIENDS. 

FIVE    GENTLEMEN    AND    THREE    LADIES. 

THIS  farce  is  of  the  very  broadest  style,  full  of  noisy 
points  and  laughable  positions. 

The  characters  are  Rodney  Ricketts,  first  low  comedy ; 


340  AMATEUR    THEATRICALS. 

Mr.  Buttonup,  second  old  mau  ;  Edward  Verner,  walking 
gentleman  ;  Joe  Crabs,  second  low  comedy ;  telegraph-boy, 
utility  part ;  Mrs.  Rummer,  second  old  woman  ;  Miss  Ver- 
ner, walking  lady ;  Mrs.  Ricketts,  utility  part.  Time  of 
representation,  thirty  minutes. 

I'VE  WRITTEN  TO  BROWNE. 

FOUR    GENTLEMEN    AND    TWO     LADIES. 

THIS  is  an  excellent  piece,  written  in  a  sprightly  and 
more  elegant  style  than  the  usual  run  of  farces.  The  char- 
acters are  Mr.  Otway  ;  Sheridan  «Browne,  a  dashing  light- 
comedy  part ;  Mr.  Peregrine  Dotts,  a  capital  first  low- 
comedy  part ;  Mr.  Charles  Heatherington,  first  walking 
gentleman  ;  Mrs.  Walsingham,  leading  juvenile  lady ;  and 
Laura,  her  sister,  first  walking  lady.  Time  of  representa- 
tion, forty  minutes. 

SLASHER   AND   CRASHER. 

FOUR    GENTLEMEN    AND    TWO    LADIES. 

THIS  is  probably  one  of  the  noisiest  farces  ever  written  ; 
but  its  lively  style  and  laughable  points  take  greatly  with 


TO    OBLIGE    BENSON  |    ETC.  341 

the  audience.  The  characters  are  Sampson  Slasher  and 
Christopher  Crasher,  first  low-comedy  parts  ;  Mr.  Benjamin 
Blowhard,  first  old  man  ;  Lieut.  Brown,  walking  gentle- 
man ;  Miss  Dinah  Blowhard  and  Rosa,  first  walking  ladies. 
Time  of  representation,  thirty  minutes. 


TO   OBLIGE  BENSON. 

THREE    GENTLEMEN    AND    TWO    LADIES. 

THIS  is  a  very  elegant  little  piece,  free  from  any  objec- 
tionable language,  and  very  lively  in  its  action.  The  char- 
acters are  Mr.  Trotter  Southdown,  first  low  comedy ;  Mr. 
Benson,  first  old  man  ;  Mr.  Meredith,  walking  gentleman  ; 
Mrs.  Southdown,  leading  lady ;  and  Mrs.  Benson,  walking 
lady.  Time  of  representation,  thirty-five  minutes. 


NURSEY   CHICKWEED. 

FOUR  GENTLEMEN  AND  ONE  LADY. 

THIS  farce  is  in  contrast  to  the  piece  just  mentioned, 
very  broad,  and  by  no  means  as  elegantly  written.  It  is, 
however,  one  that  invariably  meets  with  great  applause 


342  AMATEUR    THEATRICALS. 

from  indulgent  audiences.  The  characters  are  Jonathan 
Chickweed,  first  low-comedy  man ;  Mr.  Horatio  Mount- 
sorrel,  old  man,  or  eccentric  comedy;  Barnes  (a  miller), 
second-low  comedy  ;  Mr.  Walton,  utility  part ;  Mrs.  Mount- 
sorrel,  walking  lady;  and  Nellie,  a  very  bold  soubrette's 
part. 

THE  LOAN   OF   A   LOVER. 

FOUR    GENTLEMEN    AND    TWO    LADIES. 

THIS  is  a  very  pleasing  musical  vaudeville,  of  no  great 
dramatic  merit,  but  natural  in  its  style,  and  affording  a  fine 
opportunity  for  a  young  lady  of  good  musical  ability.  The 
characters  are  Peter  Spyk,  first  low  comedy ;  Capt.  Amers- 
fort,  walking  gentleman  ;  Swyzel,  second  old  man  ;  Delve, 
utility  part ;  Gertrude,  a  singing  soubrette's  part ;  and  Er- 
nestine, a  walking-lady's  part.  Time  of  representation,  forty 
minutes.  Costumes  will  be  required  in  this  piece. 

POOR   PILLICODDY. 

TWO    GENTLEMEN    AND    THREE    LADIES. 

THIS  is  one  of  the  standard  farces  that  audiences  seem 
never  to  weary  of,  full  of  amusing  points  ;  and  has  been 


FITZMYTHE    OF    FITZMYTHE    HALL  ;    ETC  343 

played  frequently  with  great  success  by  amateurs.  The 
characters  are  John  Peter  Pillicoddy,  first  low  comedy ; 
Capt.  O'Scuttle,  an  excellent  eccentric-comedy  part ;  Mrs. 
Pillicoddy,  walking  lady  ;  Mrs.  O'Scuttle,  old  woman  ;  and 
Sarah  Blunt,  first  chambermaid's  part.  Time  of  represen- 
tation, thirty-five  minutes. 

FITZMYTHE   OF   FITZMYTHE   HALL. 

THREE   GENTLEMEN   AND   TWO    LADIES. 

THIS  is  a  very  amusing  piece,  of  somewhat  noisy  style, 
but  not  at  all  difficult  to  perform,  and  very  taking.  The 
characters  are  Mr.  Fitzmythe,  first  low-comedy  man ; 
Frank  Tottenham,  walking  gentleman  ;  Gregory,  a  ser- 
vant's part ;  First  Cricketer,  Second  Cricketer,  utility  parts  ; 
Mrs.  Fitzmythe,  first  old  woman ;  Penelope,  soubrette's 
part.  Time  of  representation,  thirty  minutes. 

CALIFORNIA   DIAMONDS. 

THREE    GENTLEMEN    AND    TWO    LADIES. 

THIS  piece  partakes  more  of  the  nature  of  a  comedy 
than  a  farce  ;  the  language  being  of  a  higher  tone,  and  the 


344  AMATEUR   THEATRICALS. 

points  not  at  all  broad.  The  characters  are  Mr.  Kerr 
Muclgeon  and  Mr.  Dauby  Symes,  first  low-comedy  parts ; 
Mr.  Rigsby,  walking  gentleman  ;  Mrs.  Kerr  Mudgeon  and 
Mrs.  Danby  Symes,  very  good  second-ladies'  parts.  Time 
of  representation,  thirty-five  minutes.  The  piece  is  pub- 
lished under  the  name  of  "  Bristol  Diamonds." 


BROTHER   BILL   AND   ME. 

FOUR   GENTLEMEN   AND   THREE   LADIES. 

THIS  is  one  of  the  most  laughable  farces  of  the  collection 
of  minor  dramas,  abounding  in  ludicrous  positions  and 
broad  points.  The  characters  are  Mr.  A.  Noodle,  first  old 
man  ;  Benjamin  Wiggles,  a  great  low-comedy  part ;  Wil- 
liam Wiggles,  a  capital  light-comedy  part ;  Simon  Squib, 
eccentric-comedy  part ;  policeman,  utility  part ;  Seraphina 
Noodle,  first  old  woman ;  Wilhelmina  Noodle,  walking 
lady  ;  and  Martha  Muggles,  first  soubrette.  The  positions 
should  be  very  carefully  rehearsed  to  prevent  confusion. 
Time  of  representation,  thirty-five  minutes. 


SMASHINGTON-GO-IT  ;     ETC.  345 


SMASHINGTON-GO-IT. 

THREE   LADIES   AND    THREE   GENTLEMEN. 

THIS  is  a  very  good  farce  of  the  broad  style ;  the  posi- 
tions and  points  being  very  unique  and  ludicrous.  The 
characters  are  Mr.  Smashington-go-it,  a  rollicking  low- 
comedy  part ;  Mr.  Twitterly  Fluttersome  (a  gentleman  of 
delicate  nervous  organization),  first  old-man's  part;  Mr. 
Closefist  (an  old  miser),  second  old-man's  part;  Mrs. 
Fluttersome,  first  old  woman  ;  Clara,  walking  lady ;  and 
Nellie,  a  capital  chambermaid's  part.  Time  of  representa- 
tion, thirty  minutes. 


A  NICE   QUIET   DAY. 

FOUR   GENTLEMEN   AND   THREE   LADIES. 

THIS  is  not  a  broad  farce  at  all,  but  has  many  amusing 
points.  The  characters  are  Col.  Brimstone,  first  old  man  ; 
Mr.  St.  Bernard,  walking  gentleman  ;  Mr.  Timothy  Poo- 


346  AMATEUR    THEATRICALS. 

die,  first  low  comedy  ;  Mongrel,  second  low  comedy ;  Miss 
Laura  Brimstone  and  Emily,  first  walking  ladies;  and 
Susan,  first  chambermaid.  Time  of  representation,  thirty- 
five  minutes. 


A   PHANTOM   BREAKFAST. 

TWO   GENTLEMEN   AND   THREE   LADIES. 

THIS  is  one  of  Charles  Selby's  latest  productions,  abounds 
in  amusing  incidents,  and  contains  nothing  at  all  broad. 
The  characters  are  Augustus  Fitzmortimer,  a  most  respec- 
table young  man,  "  out  of  business,"  first  low-comedy  part ; 
Mr.  Deeperly,  an  eccentric  gentleman  on  the  shady  side  of 
forty,  old  man  ;  Mrs.  Deeperly,  a  beautiful  and  accom- 
plished lady,  first  walking  lady ;  Rose,  a  parlor-maid,  with 
unexceptionable  reference,  soubrette ;  and  "  Selina  Jane 
Sims,  an  improver  in  a  first-class  millinery  establishment." 
Time  of  representation,  thirty-five  minutes. 


THE    SIAMESE    TWINS;     ETC.  347 


THE   SIAMESE  TWINS. 

FOUR   GENTLEMEN   AND   TWO   LADIES. 

THIS  is  a  very  amusing  burlesque  on  the  Siamese  Twins, 
and  furnishes  an  opportunity  for  introducing  any  number  of 
gags.  Mr.  Forceps  (a  virtuoso)  is  the  first  old-man's 
part ;  Capt.  Vivid,  walking  gentleman  ;  Dennis  O'Glib,  an 
Irish  character  ;  Simon  Slow,  a  Yankee  ;  Miriam  (ward  to 
Forceps),  walking  lady;  and  Sally,  a  soubrette's  part. 
Time  of  representation,  thirty  minutes. 


THE   STEEPLE-CHASE. 

SIX   GENTLEMEN   AND   TWO    LADIES. 

THIS  is  a  new  and  very  good  farce  ;  which,  however,  de- 
pends almost  entirely  on  the  low-comedy  man.  The  char- 
acters are  Mr.  Tittrun,  first  low  comedy ;  Alderman  Slow- 
coach, old-man's  part ;  Dr.  Clipper,  walking  gentleman  ; 
Buzzard,  Cummings,  Thomas,  utility  parts  ;  Mrs.  Clipper, 
old-woman's  part ;  and  Mrs.  Tittrun,  walking  lady.  Time 
of  representation,  thirty  minutes. 


348 


AMATEUR  THEATRICALS. 


THE  TWO   BUZZARDS. 

SIX  GENTLEMEN   AND  TWO   LADIES. 

THIS  is  a  standard  farce  of  the  broad  style,  containing  a 
small  number  of  characters,  all  of  which,  in  their  way,  are 
carefully  written.  Mr.  Benjamin  Buzzard,  first  old  man  ; 
Mr.  Glimmer,  walking  gentleman  ;  John  Small,  one  of  the 
best  low-comedy  parts  ever  written  ;  Miss  Lucretia  Buzzard, 
first  walking  lady  ;  and  Sally,  the  soubrette's  part. 


COUSIN   TOM. 

THREE    GENTLEMEN    AND   TWO   LADIES. 

THIS  is  a  new  but  not  very  brilliant  farce,  well  adapted 
to  amateurs  of  limited  experience.  Tom  Vane  is  the  first 
low-comedy  part ;  Newingtou  Gosway,  second  low  comedy  ; 
Mr.  Lothbury.  old  man  ;  Lucy,  walking  lady  ;  and  Susan, 
the  soubrette.  Time  of  representation,  twenty-five  minutes. 


INDEX. 


A  HARD  SHAVE 89 

ALL  THAT  GLITTERS  IS  NOT  GOLD 317 

AMATEUR  THEATRICALS 291 

A  MORNING  CALL 316 

ANGELS  OF  BUENA  VISTA 70 

A  NICE  QUIET  DAY 345 

A  PHANTOM  BREAKFAST 346 

A  PRETTY  PIECE  OF  BUSINESS 305 

A  RAAL  CONVANIENCE 109 

A  SEA  OF  TROUBLES 339 

AURORA 254 

AWAKKNED  SORROWS 112 

BEATRICE  CENCI  LED  TO  PRISON 35 

BELIEVER'S  VISION,  THE 43 

BELSHAZZAR'S  FEAST 205 

BOUQUET  OF  BEAUTY,  THE 231 

BOUQUET  OF  LIBERTY,  THE    .       .       .       . 259 

Box  AND  Cox 338 

BROTHER  BILL  AND  ME 344 

BUSHWHACKER,  THE 122 

CALIFORNIA  DIAMONDS 343 

CHARITY  AND  POVERTY 27 

CHRISTMAS  EVE 158 

CHRISTMAS  MORNING 160 

CHRISTMAS-TREE,  THE 156 

COMING  STORM,  THE 164 

COMIN'  THROUGH  THE  RYE 90 

CONSOLATION 153 

CONSOLATION  IN  Music 39 

COKSAIR'S  BRIDE,  THE 2:0 

COURT  OF  THE  FAIRIES,  THE 261 

COUSIN  TOM 348 

CROWN  OF  GLORY,  THE 55 

CRUSADER'S  TRIUMPH,  THE 251 

349 


350  INDEX. 

FAQ  8 

DANTE  AND  BEATRICE 53 

DAVID'S  LAMENT  OVER  ABSALOM        ........    144 

DAY    AFTKK  THE   WKDDINO 321 

DEATH  OF  HINDA                           .      , 244 

DELICATE  GROUND 315 

DEPARTURE  OF  THE  PILGRIMS      .........  279 

DOING  FOR  THE  BEST 299 

DON  C/ESAR  DE  P.AZAN 300 

DREAMS  OF  DELUSION 328 

DUEL  IN  THE  SNOW,  THE 61 

DUMB  BELLE,  THE 319 

EMANCIPATION 239 

ENCHANTED  BRIDE,  THE .       .       .235 

ENOCH  ARDEN'S  RETURN 131 

EVENING-HYMN  OF  THE  HUGUENOTS 2l« 

EXCELSIOR I4rt 

FAINT  HEART  NEVER  WON  FAIR  LADY 334 

FAITH 243 

FATHER'S  OATH,  THE 129 

FAUST  AND  MARGUERITE •_':•) 

FIRST  APPEAL,  THE 49 

FISHERMAN'S  RETURN,  THE 123 

FlTZMYTHE  OF   FlTZMYTHE   HALL 343 

FLOWER  OF  THE  FAMILY,  THE 170 

GENIUS  OF  LIBERTY,  THE .       .       .240 

GRECIAN  FLOWER-GIRL,  THE 277 

GUARDIAN  ANGEL,  THE 278 

GUARDIAN  ANGELS 82 

HAIDEE  AND  JUAN 220 

HARD  STRUGGLE,  THE 331 

His  ONLY  PAIR 107 

HIT  HIM:  HE  HAS  NO  FRIENDS 339 

HOME-GUARD,  THK           94 

HOMELESS 81 

HONEYMOON,  THE 313 

HOPE  AND  FAITH no 

HUGUENOT  LOVERS,  THE        .       .       . 86 

IMAGE  OF  MAMMA,  THE 50 

INTERRUPTED  DUEL,  THE 37 

IN  THE  WILDERNESS 139 

INTRODUCTION 5 

I'VE  WRITTEN  TO  BROWNE 340 

JONATHAN'S  COURTSHIP 162 

KING  LEAR .  .179 


INDEX.  351 

PAGE. 

LAVATER;  OR,  NOT  A  BAD  JUDGE .333 

LIGHT  AND  SHADOW 02 

LIGHT  OK  THE  HAREM,  THE 228 

LION  IN  LOVE,  THE 68 

LITTLE  TREASURE,  THE 296 

LOAN  OF  A  LOVER,  THE 342 

MAKING  UP  THE  QUARREL 241 

MARRIED  LIFE 309 

MARRIED  RAKE,  THE 3(4 

MAY  AND  DECEMBER 120 

MAY  QUEEN,  THE .     , 21 

MIDSUMMER-NIGHT'S  DREAM,  THE 271 

MlGNOS   ET  SON  PERE '    '  + 74 

MONEY 295 

MOTHER'S  GRAVE,  THE 91 

MOUNTAINEER,  THE 51 

MOVING  IN 172 

MOVING  OUT 176 

NEW-YEAR'S  EVE 25 

NIOBE 2fi9 

NOTES  AND  RECIPES 284 

NURSEY  CHICKWEED 341 

ONCONVANIENCE  OF  SINGLE  LIFE,  THE 168 

ONLY  A  CLOD 324 

Ox  THE  FENCE  .               126 

ON  THE  SHORES  OF  TENNESSEE 105 

ON  THE  SLY 338 

ORPHAN'S  DREAM,  THE 88 

PARDON  REFUSED,  THE 116 

J'HST  AND  FUTURE 108 

I'AST,  PRESENT,  AND  FUTURE 249 

PATIENCE  AND  IMPATIENCE 171 

PICKET-GUARD,  THE 114 

POOR  PILLICOPDY 342 

RAPHAEL'S  CHKRUBS •    .       .       .       .79 

RECOGNITION,  THE 127 

RECONCILIATION,  THE 118 

REFUGEE,  THE 100 

REPRIMAND,  THE 75 

REWARD  OF  MERIT,  THE 70 

RIGHTS  OF  MAN,  THE 312 

I'OMEO  AND  JULIET 191 

SAILOR-BOY'S  DREAM,  THE 98 

SCENE  FROM  PERICLES .       .       .       .188 

SCENE  FROM  THE  TEMPEST 198 


352  INDEX. 

P\OK. 

SCREEN-SCENE  FROM  THE  SCHOOL  FOR  SCANDAL 58 

SCULPTOR'S  DREAM,  THE 96 

SEA  OF  ICE,  THE 48 

SEASONS,  THE 265 

SECOND  LOVE 32fi 

SERIOUS  FAMILY,  THE 30fi 

SHIPWRECKED  MOTHER,  THE 29 

SIAMESE  TWINS,  THE 347 

SIMPSON  &  C  > 307 

SLASHER  AND  CRASHER 340 

SMASHINGTON-GO-lT 345 

SOLDIER  FROM  THE  HUDSON,  THE       ........  HJ8 

SOLDIER'S  DREAM,  THE 140 

SOLDIER'S  MOTHER,  THE .45 

SPIRIT  OF  76 141 

STATUE-SCENE  FROM  THE  MARBLE  HEART 223 

STEEPLE-CHASE,  THE 347 

STILL  WATERS  RUN  DEEP 302 

SUCCESSFUL  PICTURE,  THE 77 

SYLVIA'S  SOLDIER 297 

TAKING  THE  OATH 41 

TIME  TRIES  ALL 329 

TOMB-SCENE  PROM  ROMEO  AND  JULIET 114 

To  OBLIGE  BENSON 341 

To  PARENTS  AND  GUARDIANS 335 

TORN  BREECHES,  THE 105 

TRIAL-SCENE  FROM  THE  MERCHANT  OF  VENICE i#i 

TRUST ;       .       .      .  SS2 

TURN  HIM  OUT 337 

Two  BRIDES,  THE 64 

Two  BUZZARDS,  THE ,    .       .       .       .348 

TWO  CAN  PLAY  AT  THAT  GAME 311 

VEILED  PROPHET,  THE 212 

VILLAGE  BARBER,  THE 166 

VILLAGE  POST-OFFICB,  THE 121 

VISION  OF  CAESAR 202 

VISION  OF  MARGUERITE 2.>.' 

VISION  OF  PAST,  PRESENT,  AND  FUTURE 84 

WELCOME  SHELTER,  THE 62 

Wito  KILLED  COCK  ROBIN? 320 

WHO  SPEAKS  FIRST? 3±2 

WIDOW  OF  GLENCOE,  THE 135 

WOUNDED  SCOUT,  THE 66 

WYOMING    .                                                                                          ,  31 


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